bigdata-pw/tate · Datasets at Hugging Face

Photograph, gelatin silver print on paper

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3,523

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1,985

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Lindsay Key

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

AR00158

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7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,985

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https://media.tate.org.u…R/AR00158_10.jpg

11413

paper print photograph gelatin silver

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Lindsay Key

1,985

ARTIST ROOMS Tate and National Galleries of Scotland

1985

CLEARED

4

support: 477 × 377 mm frame: 745 × 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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artwork

Photograph, gelatin silver print on paper

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Nick

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

AR00159

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7007567 1002551 7007568 7012149

Robert Mapplethorpe

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This black and white photograph is a portrait of Nick Bienes, who Robert Mapplethorpe met in 1977. Bienes sits in three-quarter profile with his head turned to face the camera. He is topless but holds his studded leather jacket, which is slung over his left shoulder, with clasped hands. The top of his leather trousers and a metallic belt can be seen at the bottom edge of the image. Bienes wears a strong yet sullen expression and boasts a dark, trimmed beard and two visible tattoos: a flaming skull on his forehead and a profile head and neck of a man wearing a leather cap on his left bicep. He casts a shadow on the white wall behind him that emphasises his square jaw.

false

1

https://media.tate.org.u…R/AR00159_10.jpg

11413

paper print photograph gelatin silver

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Nick

1,977

ARTIST ROOMS Tate and National Galleries of Scotland

1977

CLEARED

4

support: 341 × 342 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

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThis black and white photograph is a portrait of Nick Bienes, who Robert Mapplethorpe met in 1977. Bienes sits in three-quarter profile with his head turned to face the camera. He is topless but holds his studded leather jacket, which is slung over his left shoulder, with clasped hands. The top of his leather trousers and a metallic belt can be seen at the bottom edge of the image. Bienes wears a strong yet sullen expression and boasts a dark, trimmed beard and two visible tattoos: a flaming skull on his forehead and a profile head and neck of a man wearing a leather cap on his left bicep. He casts a shadow on the white wall behind him that emphasises his square jaw. \nThis portrait was taken in the same year that Mapplethorpe met Bienes at an S&M nightclub in New York called Mineshaft. At this time Mapplethorpe was particularly interested in taking photographs of sadomasochistic sexual practices and the individuals who practised them. However, his images of this period were considered relatively tame in S&M circles, and Bienes referred to them as being an ‘artsified version of S&M. They’re not like photographs snapped during an actual scene’ (Bienes cited in Morrisroe 1995, p.191). Mapplethorpe took many portraits of Bienes.\nThe tattoo on Bienes’s bicep closely resembles an illustration by Tom of Finland, a Finnish artist whose real name was Touko Laaksonen. Tom of Finland had a huge influence on gay visual culture in the second half of the twentieth century with his homoerotic and pornographic illustrations, many of which featured leather clad men. It is not certain whether Bienes copied a specific illustration for his tattoo, but considering the widespread circulation of Tom of Finland’s work at the time it is highly likely that Bienes was at least inspired by these images. \nMapplethorpe was gay and actively engaged in the S&M scene himself during the mid to late 1970s. He frequented many gay bars and clubs in the Meatpacking district of New York City including the Mineshaft, which was considered the ‘definitive S&M club’ (Morrisroe 1995, p.189). Art critic and philosopher Arthur Danto has described the ‘leather look, the peaked cap, the flaunted biceps’ which Bienes displays in this portrait as strategies of ‘attractiveness and self-definition’ within the gay community as a means of distancing themselves from the connotations of effeminacy often associated with gay men (Danto 1996, p.97). Mapplethorpe took portraits of many other members of the S&M New York scene including Brian Ridley and Lyle Heeter (see Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"/art/artworks/AR00196\" onclick=\"popTateObjects(event, -1, 'AR00196');\" title=\"View details of this artwork\">AR00196</a>). \nThis portrait of Bienes appeared in Certain People, a photobook published in 1985 with an essay by the cultural critic Susan Sontag. For this book Mapplethorpe included portraits of individuals from the two social spectrums of New York with which he was engaged, that of ‘New York squalor’ and ‘New York glamour’ (Morrisroe 1995, p.297). As such it featured portraits of the wealthy who belonged to the art world or high society, such as Doris Saatchi and Francesca Thyssen (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"/art/artworks/AR00156\" onclick=\"popTateObjects(event, -1, 'AR00156');\" title=\"View details of this artwork\">AR00156</a>), as well as celebrities like Arnold Schwarzenegger (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"/art/artworks/AR00213\" onclick=\"popTateObjects(event, -1, 'AR00213');\" title=\"View details of this artwork\">AR00213</a>), alongside portraits of strippers and porn dealers. \n\nFurther reading Robert Mapplethorpe: Certain People, Santa Fe 1985. Patricia Morrisroe, Mapplethorpe. A Biography, London 1995. Arthur Coleman Danto, Playing With the Edge: The Photographic Achievement of Robert Mapplethorpe, Berkeley and London 1996. \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": "2021-07-13T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "Nick looks every inch the hard, leather-clad macho guy of the New York gay S&M scene – studs on his jacket, belt and wristband, tattoos on his arm and forehead (a flaming skull) and a well-trimmed beard. Yet his hands are clasped together as if in prayer.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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artwork

Photograph, gelatin silver print on paper

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Bob Love

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

AR00160

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Robert Mapplethorpe

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This black and white photograph features the model Bob Love in a close-up, three-quarter profile. The frame is cropped so that only Love’s head and shoulders are visible, filling the frame as he turns his head to the right, his eyes fixed on the camera lens. The photograph exploits deep contrasts of light and shade, with a particularly stark difference between parts of the face and shoulder – which show a reflective sheen – and the darkness of the neck and back and top of the head. The photograph is one of several Mapplethorpe produced with Love as the subject. Another of these, taken in the same year as Bob Love and given the same title (Tate AR01140), depicts Love naked upon a pedestal, with his legs spread and his penis on display. Both works demonstrate the artist’s concern to portray the sculptural beauty of the human form. The contrasts of light and shade appear to give the sitter’s body the permanence and lustre of a classical bronze statue.

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1

https://media.tate.org.u…R/AR00160_10.jpg

11413

paper print photograph gelatin silver

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Bob Love

1,979

ARTIST ROOMS Tate and National Galleries of Scotland

1979

CLEARED

4

support: 340 × 341 mm frame: 612 × 588 × 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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<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>

Lowell 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

AR00161

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Robert Mapplethorpe

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paper print photograph gelatin silver

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Lowell Smith

1,981

ARTIST ROOMS Tate and National Galleries of Scotland

1981

CLEARED

4

image: 353 × 355 mm frame: 605 × 586 × 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

1585 1325 93 179 1079 20118 9328 20114

false

artwork

Graphite on acrylic ground on paper

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DesertGalaxy

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

AR00162

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Vija Celmins

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Untitled (Desert–Galaxy) is a work on paper by the Latvian-born American artist Vija Celmins that presents two individual drawings side by side on the same sheet of paper: on the left is a galaxy in outer space and on the right is an image of a closely-cropped desert floor. The artist has used graphite pencil on an acrylic gesso ground for both drawings. These drawings – as is the case with the majority of the artist’s drawings, prints and paintings – are based on photographs rather than the direct observation of nature. The various subject matters of Celmins’s drawings of the late 1960s and 1970s include photographic images of oceans, deserts, lunar surfaces, cloud-filled skies and galaxies – all spaces of vastness and anonymity, isolated from direct human intervention. Celmins lived and worked in Venice Beach, California in the 1960s and 1970s after moving from Indianapolis to undertake a Masters degree in Fine Art at University of California Los Angeles. Untitled (Desert–Galaxy) is the earliest work by Celmins in ARTIST ROOMS. It was produced during a long period in which her practice was focused intently upon the medium of drawing, having abandoned painting in the mid-1960s only to return to it again in the early 1980s with a series of night sky oil paintings.

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2731

paper unique graphite acrylic ground

[ { "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": 5000, "startDate": "2009-03-12", "venueName": "Scottish National Gallery of Modern Art (Edinburgh, UK)", "venueWebsiteUrl": "http://www.nationalgalleries.org/" } ], "id": 4197, "startDate": "2009-03-14", "title": "ARTIST ROOMS Vija Celmins", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "15 April 2011 – 9 January 2012", "endDate": "2012-01-09", "exhibitionLegs": [ { "dateText": "15 April 2011 – 17 July 2011", "endDate": "2011-07-17", "id": 5747, "startDate": "2011-04-15", "venueName": "Museum Ludwig (Cologne, Germany)", "venueWebsiteUrl": null }, { "dateText": "7 September 2011 – 8 January 2012", "endDate": "2012-01-08", "id": 6445, "startDate": "2011-09-07", "venueName": "Louisiana Museum of Modern Art (Humlebæk, Denmark)", "venueWebsiteUrl": "http://www.louisiana.dk" } ], "id": 4769, "startDate": "2011-04-15", "title": "Vija Celmins. Desert Sea and Stars", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "5 May 2012 – 24 March 2013", "endDate": "2013-03-24", "exhibitionLegs": [ { "dateText": "5 May 2012 – 24 March 2013", "endDate": "2013-03-24", "id": 7370, "startDate": "2012-05-05", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 6024, "startDate": "2012-05-05", "title": "ARTIST ROOMS Vija Celmins", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "11 April 2014 – 22 June 2014", "endDate": "2014-06-22", "exhibitionLegs": [ { "dateText": "11 April 2014 – 22 June 2014", "endDate": "2014-06-22", "id": 8887, "startDate": "2014-04-11", "venueName": "Latvian National Museum of Art (Riga, Latvia)", "venueWebsiteUrl": null } ], "id": 7282, "startDate": "2014-04-11", "title": "Vija Celmins Retrospective", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "4 April 2015 – 28 June 2015", "endDate": "2015-06-28", "exhibitionLegs": [ { "dateText": "4 April 2015 – 28 June 2015", "endDate": "2015-06-28", "id": 9542, "startDate": "2015-04-04", "venueName": "National Centre for Craft & Design (Sleaford, UK)", "venueWebsiteUrl": null } ], "id": 7832, "startDate": "2015-04-04", "title": "ARTIST ROOMS 2015: Vija Celmins", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "2 February 2018 – 6 May 2018", "endDate": "2018-05-06", "exhibitionLegs": [ { "dateText": "2 February 2018 – 6 May 2018", "endDate": "2018-05-06", "id": 11882, "startDate": "2018-02-02", "venueName": "New Art Gallery Walsall (Walsall, UK)", "venueWebsiteUrl": "http://www.artatwalsall.org.uk/" } ], "id": 9740, "startDate": "2018-02-02", "title": "ARTIST ROOMS 2018: Vija Celmins", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "15 December 2018 – 12 January 2020", "endDate": "2020-01-12", "exhibitionLegs": [ { "dateText": "15 December 2018 – 31 March 2019", "endDate": "2019-03-31", "id": 12317, "startDate": "2018-12-15", "venueName": "San Francisco Museum of Modern Art (San Francisco, USA)", "venueWebsiteUrl": null }, { "dateText": "1 May 2019 – 31 August 2019", "endDate": "2019-08-31", "id": 12318, "startDate": "2019-05-01", "venueName": "Art Gallery of Ontario (Toronto, Canada)", "venueWebsiteUrl": "http://www.ago.net" }, { "dateText": "1 October 2019 – 12 January 2020", "endDate": "2020-01-12", "id": 12319, "startDate": "2019-10-01", "venueName": "The Met Breuer (New York, USA)", "venueWebsiteUrl": null } ], "id": 10145, "startDate": "2018-12-15", "title": "Vija Celmins", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "3 February 2024 – 18 May 2025", "endDate": "2025-05-18", "exhibitionLegs": [ { "dateText": "3 February 2024 – 4 May 2024", "endDate": "2024-05-04", "id": 15179, "startDate": "2024-02-03", "venueName": "Hatton Gallery (Newcastle upon Tyne, UK)", "venueWebsiteUrl": null }, { "dateText": "17 May 2024 – 18 August 2024", "endDate": "2024-08-18", "id": 15180, "startDate": "2024-05-17", "venueName": "Burgh Hall (Dunoon, UK)", "venueWebsiteUrl": null }, { "dateText": "19 October 2024 – 12 January 2025", "endDate": "2025-01-12", "id": 15181, "startDate": "2024-10-19", "venueName": "The Box (Plymouth, UK)", "venueWebsiteUrl": null } ], "id": 12457, "startDate": "2024-02-03", "title": "Vija Celmins", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "15 June 2025 – 21 September 2025", "endDate": "2025-09-21", "exhibitionLegs": [ { "dateText": "15 June 2025 – 21 September 2025", "endDate": "2025-09-21", "id": 15860, "startDate": "2025-06-15", "venueName": "Fondation Beyeler (Riehen/Basel, Switzerland)", "venueWebsiteUrl": "http://www.beyeler.com" } ], "id": 12991, "startDate": "2025-06-15", "title": "VIJA CELMINS", "type": "Loan-out" } ]

Untitled (Desert-Galaxy)

1,974

ARTIST ROOMS Tate and National Galleries of Scotland

1974

CLEARED

5

support: 442 × 956 mm frame: 510 × 1030 × 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\nUntitled (Desert–Galaxy) is a work on paper by the Latvian-born American artist Vija Celmins that presents two individual drawings side by side on the same sheet of paper: on the left is a galaxy in outer space and on the right is an image of a closely-cropped desert floor. The artist has used graphite pencil on an acrylic gesso ground for both drawings. These drawings – as is the case with the majority of the artist’s drawings, prints and paintings – are based on photographs rather than the direct observation of nature. The various subject matters of Celmins’s drawings of the late 1960s and 1970s include photographic images of oceans, deserts, lunar surfaces, cloud-filled skies and galaxies – all spaces of vastness and anonymity, isolated from direct human intervention. Celmins lived and worked in Venice Beach, California in the 1960s and 1970s after moving from Indianapolis to undertake a Masters degree in Fine Art at University of California Los Angeles. Untitled (Desert–Galaxy) is the earliest work by Celmins in ARTIST ROOMS. It was produced during a long period in which her practice was focused intently upon the medium of drawing, having abandoned painting in the mid-1960s only to return to it again in the early 1980s with a series of night sky oil paintings. \nThe photographic materials for the drawings in Untitled (Desert–Galaxy) were sourced in two different ways: the desert image is based on a photograph taken by the artist, while the galaxy image is from a published, general reference source. As the curator Jonas Storsve has explained: \n\n<blockquote>In 1970, Celmins began roaming the desert with her dog. She had a particular fondness for California’s Panamint Valley and Death Valley, but soon the deserts in north Arizona and New Mexico also began surfacing in her work … In 1973, while working on her desert drawings, the artist made a drawing from a photograph of the Coma Berenices constellation that she had obtained from the California Institute of Technology in Pasadena.</blockquote>\n<blockquote>(Storsve 2006, p.22.) </blockquote>\nThese two separate entities are brought together as Untitled (Desert–Galaxy), with the artist redeploying the same Coma Berenices photograph used as the basis of her slightly earlier series of drawings, including Galaxy #1 (Coma Berenices) 1973 (reproduced in James Lingwood, Vija Celmins: Works 1964–96, exhibition catalogue, Institute of Contemporary Arts, London 1996, p.64) and the lithograph Untitled Portfolio: Galaxy 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/celmins-untitled-portfolio-galaxy-ar00605\" title=\"View the details of this artwork\">AR00605</a>). Such recurrences of the constellation motif demonstrate the persistence and longevity of this subject matter, as it migrates to various works and mediums across a concentrated period of time. \nThe paper support of Untitled (Desert–Galaxy) has stretched horizontal proportions, setting up a double-vision effect where the viewer is unable to take in both images at once. Instead the viewer must move between them in a rhythmic back and forth. The uneven, slightly irregular positioning of the two rectangular drawings in relation to their paper support is immediately noticeable. The images do not match up on either axis. There is about 4 mm between the bottom of the galaxy image and the bottom of the desert image, hovering just above. There is also a larger gap above the top axis of the desert. This irregular double composition can also be seen in a series of dual-image prints Celmins produced almost a decade later at Gemini G.E.L. (Graphics Editions Limited) in Los Angeles, including Constellation – Uccello 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/celmins-constellation-uccello-ar00606\" title=\"View the details of this artwork\">AR00606</a>) and Jupiter Moon – Constellation 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/celmins-jupiter-moon-constellation-ar00481\" title=\"View the details of this artwork\">AR00481</a>). \nThe intense black graphite surface of the galaxy image is dense and wholly opaque, with only the stars left gleaming white as the untouched surface of the paper itself. The preparation of an acrylic ground before drawing provided an intermediary layer of paint between the paper surface and the graphite pencil, creating a smooth, even tone. The desert image has a light, all-over grey wash background, onto which the individual rocks were formed in pencil. The rock formations are precisely drawn, with shadowing and contouring. Some of the larger rocks cast shadows, so although the spatial plane is flattened out, a kind of recessive perspectival orientation is still in play; in contrast to the visual flatness of the galaxy image, which paradoxically represents far greater spatial depth. \nDiscussing this time in her career and making specific reference to Untitled (Desert–Galaxy), Celmins has said: \n\n<blockquote>After some five years of doing intense single images with no composition, but just subtle adjustments on the plane, I could stand it no longer, so I started putting one image next to another. Sort of just shoving them together … like a galaxy image that invites you in, next to a desert surface that projects out at you. It meant that when you were close to the work each eye would see a different image, or you would have to move your attention from one to the other, but when you pulled back a bit, the images seemed to be working together, and made for a more complex spatial experience. For a while I liked that, and I did a series of double and triple-image works using pictures, mostly torn from books and magazines, that I had collected over the years.</blockquote>\n<blockquote>(Quoted in d’Offay 2009, p.79.) </blockquote>\nThe art historian Briony Fer, in her analysis of a later Celmins drawing in ARTIST ROOMS (Night Sky #19 1998, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-night-sky-19-ar00163\" title=\"View the details of this artwork\">AR00163</a>), has noted the fundamental role of the desert in the artist’s works on paper, writing: ‘Celmins rejects the liquid gesture in favour of the dry world of her drawing table … she might draw night skies or she might draw oceans, but the subject that reflects on her medium most directly is the desert floor. A parched ground, endlessly differentiated.’ (Fer 2004, p.106.) \nCelmins has also insisted: \n\n<blockquote>I’m creating a flat, invented world. Imagination comes in from building an image so that it has a physical reality with some real staying power. I try to make a work that is thoroughly considered and has a strong form. However, the manipulating of the surface is subtle and sensuous. It is in the nuances of the way the graphite feels and the marks that are left.</blockquote>\n<blockquote>(Quoted in d’Offay 2009, p.79.) </blockquote>\n\nFurther reading \n Briony Fer, ‘Focus – Night Sky #19 1998’, in Lane Relyea, Robert Gober and Briony Fer, Vija Celmins, London and New York 2004, pp. 102–7, reproduced p.32. Jonas Storsve and others, Vija Celmins: Dessins = Drawings, exhibition catalogue, Centre Pompidou, Paris 2006, reproduced pp.98–9. Anthony d’Offay and others, ‘Me, You, Us: Anthony d’Offay and others on ARTIST ROOMS’, TATE ETC., no.16, Summer 2009, pp.74–81. \nStephanie Straine June 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": "Celmins's intense monochromatic images, based on photographs of the desert and a galaxy in the night sky, focus on small and individual marks in the context of vastness. The images appear fragile because they record a specific human glimpse through a telescope or camera which is ephemeral and frozen in time. Celmins's serial exploration of her subjects allows her to exploit the distinct characteristics of the variety of media she uses. This double-image drawing brings together two of Celmins's recurring motifs, the desert landscape and the night sky. Celmins has explained that her galaxy drawings originate from a love of exploring \"the blackness of the pencil.\" She leaves the paper bare to create points of light.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "aerial view", "astronomy", "contrast", "desert", "emotions, concepts and ideas", "formal qualities", "galaxy", "landscape", "photographic", "rocky", "sky", "star", "texture", "universe" ]

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3,528

[ { "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" } ]

1,998

<a href="https://www.tate.org.uk/art/artists/vija-celmins-2731" aria-label="More by Vija Celmins" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Vija Celmins</a>

Night Sky 19

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

AR00163

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7006484 7006515 7006541

Vija Celmins

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Night Sky #19 is a charcoal drawing on coated white paper that depicts a vast field of stars in the night sky. It is signed and dated by the artist at the bottom right corner of the landscape-oriented sheet of paper. This drawing – as is the case with the majority of Vija Celmins’s drawings, prints and paintings – is based on a photograph rather than the direct observation of nature. Night Sky #19, as its numerical title suggests, is one of an extensive series of night sky images produced by the artist in the 1990s, directly related to earlier representations of galaxies from the 1960s and 1970s, seen in one half of the dual-image drawing Untitled (Desert–Galaxy) 1974 (Tate AR00162). For both series Celmins obtained the source materials from books, newspapers and magazines: published photographic clippings that the artist used as a platform for her artistic production. As the art historian Briony Fer has commented:

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[ { "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": 5000, "startDate": "2009-03-12", "venueName": "Scottish National Gallery of Modern Art (Edinburgh, UK)", "venueWebsiteUrl": "http://www.nationalgalleries.org/" } ], "id": 4197, "startDate": "2009-03-14", "title": "ARTIST ROOMS Vija Celmins", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "21 May 2011 – 30 July 2011", "endDate": "2011-07-30", "exhibitionLegs": [ { "dateText": "21 May 2011 – 30 July 2011", "endDate": "2011-07-30", "id": 6173, "startDate": "2011-05-21", "venueName": "Gracefield Arts Centre (Dumfries, UK)", "venueWebsiteUrl": "http://www.dumgal.gov.uk/gracefield" } ], "id": 5043, "startDate": "2011-05-21", "title": "ARTIST ROOMS 2011: Vija Celmins", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "5 May 2012 – 24 March 2013", "endDate": "2013-03-24", "exhibitionLegs": [ { "dateText": "5 May 2012 – 24 March 2013", "endDate": "2013-03-24", "id": 7370, "startDate": "2012-05-05", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 6024, "startDate": "2012-05-05", "title": "ARTIST ROOMS Vija Celmins", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "29 March 2014 – 28 June 2014", "endDate": "2014-06-28", "exhibitionLegs": [ { "dateText": "29 March 2014 – 28 June 2014", "endDate": "2014-06-28", "id": 8808, "startDate": "2014-03-29", "venueName": "Taigh Chearsabhagh Museum & Arts Centre (Lochmaddy, UK)", "venueWebsiteUrl": null } ], "id": 7222, "startDate": "2014-03-29", "title": "ARTIST ROOMS 2014: Vija Celmins", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "15 December 2018 – 12 January 2020", "endDate": "2020-01-12", "exhibitionLegs": [ { "dateText": "15 December 2018 – 31 March 2019", "endDate": "2019-03-31", "id": 12317, "startDate": "2018-12-15", "venueName": "San Francisco Museum of Modern Art (San Francisco, USA)", "venueWebsiteUrl": null }, { "dateText": "1 May 2019 – 31 August 2019", "endDate": "2019-08-31", "id": 12318, "startDate": "2019-05-01", "venueName": "Art Gallery of Ontario (Toronto, Canada)", "venueWebsiteUrl": "http://www.ago.net" }, { "dateText": "1 October 2019 – 12 January 2020", "endDate": "2020-01-12", "id": 12319, "startDate": "2019-10-01", "venueName": "The Met Breuer (New York, USA)", "venueWebsiteUrl": null } ], "id": 10145, "startDate": "2018-12-15", "title": "Vija Celmins", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "3 February 2024 – 18 May 2025", "endDate": "2025-05-18", "exhibitionLegs": [ { "dateText": "3 February 2024 – 4 May 2024", "endDate": "2024-05-04", "id": 15179, "startDate": "2024-02-03", "venueName": "Hatton Gallery (Newcastle upon Tyne, UK)", "venueWebsiteUrl": null }, { "dateText": "17 May 2024 – 18 August 2024", "endDate": "2024-08-18", "id": 15180, "startDate": "2024-05-17", "venueName": "Burgh Hall (Dunoon, UK)", "venueWebsiteUrl": null }, { "dateText": "19 October 2024 – 12 January 2025", "endDate": "2025-01-12", "id": 15181, "startDate": "2024-10-19", "venueName": "The Box (Plymouth, UK)", "venueWebsiteUrl": null } ], "id": 12457, "startDate": "2024-02-03", "title": "Vija Celmins", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "15 June 2025 – 21 September 2025", "endDate": "2025-09-21", "exhibitionLegs": [ { "dateText": "15 June 2025 – 21 September 2025", "endDate": "2025-09-21", "id": 15860, "startDate": "2025-06-15", "venueName": "Fondation Beyeler (Riehen/Basel, Switzerland)", "venueWebsiteUrl": "http://www.beyeler.com" } ], "id": 12991, "startDate": "2025-06-15", "title": "VIJA CELMINS", "type": "Loan-out" } ]

Night Sky #19

1,998

ARTIST ROOMS Tate and National Galleries of Scotland

1998

CLEARED

5

support: 570 × 673 mm frame: 608 × 710 × 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\nNight Sky #19 is a charcoal drawing on coated white paper that depicts a vast field of stars in the night sky. It is signed and dated by the artist at the bottom right corner of the landscape-oriented sheet of paper. This drawing – as is the case with the majority of Vija Celmins’s drawings, prints and paintings – is based on a photograph rather than the direct observation of nature. Night Sky #19, as its numerical title suggests, is one of an extensive series of night sky images produced by the artist in the 1990s, directly related to earlier representations of galaxies from the 1960s and 1970s, seen in one half of the dual-image drawing Untitled (Desert–Galaxy) 1974 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-untitled-desert-galaxy-ar00162\" title=\"View the details of this artwork\">AR00162</a>). For both series Celmins obtained the source materials from books, newspapers and magazines: published photographic clippings that the artist used as a platform for her artistic production. As the art historian Briony Fer has commented:\n\n<blockquote>If Night Sky #19 is a drawing of anything, it is a drawing of a photograph culled from an astronomy book … Whilst I don’t think the effect of her work is to make us feel lost in the enormity of a sky we could say that we do get lost in translation between photography and drawing and painting. These are the translations that seem to interest her most.</blockquote>\n<blockquote>(Fer 2004, p.102.)</blockquote>\nThe mid-1990s marked a return to drawing for the artist, who had devoted most of the previous decade to her painting practice, which she had abandoned in the late 1960s. The 1980s also ushered in a more sustained commitment to printmaking, which became an integral part of Celmins’s work. Across these variations in media the night sky remained a constant preoccupation: prints like Mount Holyoke 1987 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-mount-holyoke-ar00471\" title=\"View the details of this artwork\">AR00471</a>) and the four-part series Concentric Bearings 1984–5 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-a-ar00469\" title=\"View the details of this artwork\">AR00469</a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-d-ar00470\" title=\"View the details of this artwork\">AR00470</a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-b-ar00482\" title=\"View the details of this artwork\">AR00482</a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-c-ar00483\" title=\"View the details of this artwork\">AR00483</a>) all made use of a constellation, galaxy or night sky photographic source. \nThe curator Jonas Storsve has highlighted Celmins’s shift from the method of earlier works on paper such as Untitled (Desert–Galaxy) to that of the 1990s drawings, declaring:\n\n<blockquote>If the subject was the same, the technique had undergone a radical change: instead of graphite on an acrylic ground, Celmins opted for charcoal and an eraser … she now applied the charcoal by hand directly onto the paper and used the eraser to draw the fields of stars, digging down through the charcoal ground to reach the white surface of the paper.</blockquote>\n<blockquote>(Storsve 2006, p.24.)</blockquote>\nThis is the drawing process undertaken in Night Sky #19. The charcoal has been rubbed deep into the paper in a slow, accumulative process. This background is blackest at the bottom edge, where traces of pure, unblended charcoal are visible along the loosely delineated margin of the rectangular drawing space. An electric eraser burrows through these many layers of dusty charcoal to create starry pinpricks of light as a kind of negative drawing – a process that moves backwards towards the original colour and surface of the paper. This technique can also be seen in Web #1 1999 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-web-1-ar00164\" title=\"View the details of this artwork\">AR00164</a>). Some of the stars are more nebulous than others, having been only partially erased from the dense charcoal field. This creates a greyscale range of tonal variations between the black of the charcoal and the white of the paper, giving the drawing a mottled effect in which the celestial clusters appear to emit varying levels of brightness in the night sky (thereby suggesting a range of distances from Earth). \nThe art critic Adrian Searle has described the night sky in Celmins’s work as ‘an image with no horizon, it is entirely frontal’ (Anthony d’Offay Gallery 2001, p.9). This reinforces the close relationship between the type of images Celmins chooses to work with and the flat plane of the drawing surface. Her translation from photograph to drawing does not seek to duplicate the source image accurately or illusionistically, but rather, as the artist articulates: \n\n<blockquote>In the drawing, I try to present a certain kind of sensibility about making a drawing, about restraint, about not expressing, but sort of toning down an image until there is very little gesture in the strokes, but there remains a sensuality to explore. </blockquote>\n<blockquote>(Quoted in Anthony d’Offay Gallery 2001, p.54.) </blockquote>\nThis emphasis on achieving a restrained yet sensual type of drawing underscores the intensely material base of Celmins’s highly conceptual approach to working with an existing image. Complicating the reproducibility of her photographic sources by subjecting them to painstakingly precise handiwork produces a drawing that is suspended between mechanical detachment and a physical involvement with surface and medium. The artist herself suggests: ‘Drawing is kind of like a dry world, the dry world of graphite and little pieces of charcoal … Charcoal’s a bit like paint really, it dribbles away into dust and you can work with your hands.’ (Quoted in ibid., p.56.)\n\nFurther reading \n Adrian Searle and Anne Seymour, Vija Celmins – Drawings of the Night Sky, exhibition catalogue, Anthony d’Offay Gallery, London 2001, reproduced p.43. Briony Fer, ‘Focus – Night Sky #19 1998’, in Lane Relyea, Robert Gober and Briony Fer, Vija Celmins, London and New York 2004, pp.102–7, reproduced pp.102–3. Jonas Storsve and others, Vija Celmins: Dessins = Drawings, exhibition catalogue, Centre Pompidou, Paris 2006, reproduced p.133. \nStephanie Straine May 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": "Celmins's intense monochromatic images of the night sky, based on photographs, focus on small and individual marks in the context of vastness. The images seem fragile because they record a specific human glimpse through a telescope or camera which is ephemeral and frozen in time. Celmins's serial exploration of her subjects, including the night sky, allows the artist to exploit the distinct characteristics of the variety of media she uses. Celmins has explained that her galaxy drawings stem from a love of exploring \"the blackness of the pencil\". The charcoal ground has a dark opacity but contains endless variations. Celmins uses an eraser to bring out the stars in the night sky.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "astronomy", "landscape", "night", "sky", "star", "times of the day", "universe" ]

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69 540 4574 1707 75 17774

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Charcoal on paper

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<a href="https://www.tate.org.uk/art/artists/vija-celmins-2731" aria-label="More by Vija Celmins" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Vija Celmins</a>

Web 1

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

AR00164

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Vija Celmins

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Web #1 is a large charcoal drawing on paper of a spider’s web, based on a found photograph and not the direct observation of nature. It is signed and dated by the artist beneath the bottom right corner of the drawing. The charcoal drawing is positioned centrally on a large sheet of landscape-oriented paper and is contained by a relatively neat border – achieved by placing a piece of card around the image as the charcoal background is worked into the paper and to the edges, creating a softly feathered, rather than precise, linear border. The paper support has a slightly textured surface, so that the many layers of charcoal do not achieve a total black coverage of the off-white paper, but rather give the drawing a greyscale tonal quality. Explaining the working method for her charcoal drawings such as this one and Night Sky #19 1998 (Tate AR00163), the artist has stated: ‘I work the sheet with my hand, putting on charcoal in layers, and then I start taking it off with my hand, with my breath, and then with various kinds of erasers.’ (Quoted in Rippner 2002, p.28.) This can be understood as a kind of negative drawing – a process that moves backwards towards the original colour and surface of the paper.

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paper unique charcoal

[ { "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": 5000, "startDate": "2009-03-12", "venueName": "Scottish National Gallery of Modern Art (Edinburgh, UK)", "venueWebsiteUrl": "http://www.nationalgalleries.org/" } ], "id": 4197, "startDate": "2009-03-14", "title": "ARTIST ROOMS Vija Celmins", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "21 May 2011 – 30 July 2011", "endDate": "2011-07-30", "exhibitionLegs": [ { "dateText": "21 May 2011 – 30 July 2011", "endDate": "2011-07-30", "id": 6173, "startDate": "2011-05-21", "venueName": "Gracefield Arts Centre (Dumfries, UK)", "venueWebsiteUrl": "http://www.dumgal.gov.uk/gracefield" } ], "id": 5043, "startDate": "2011-05-21", "title": "ARTIST ROOMS 2011: Vija Celmins", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "5 May 2012 – 24 March 2013", "endDate": "2013-03-24", "exhibitionLegs": [ { "dateText": "5 May 2012 – 24 March 2013", "endDate": "2013-03-24", "id": 7370, "startDate": "2012-05-05", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 6024, "startDate": "2012-05-05", "title": "ARTIST ROOMS Vija Celmins", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "29 March 2014 – 28 June 2014", "endDate": "2014-06-28", "exhibitionLegs": [ { "dateText": "29 March 2014 – 28 June 2014", "endDate": "2014-06-28", "id": 8808, "startDate": "2014-03-29", "venueName": "Taigh Chearsabhagh Museum & Arts Centre (Lochmaddy, UK)", "venueWebsiteUrl": null } ], "id": 7222, "startDate": "2014-03-29", "title": "ARTIST ROOMS 2014: Vija Celmins", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "4 April 2015 – 28 June 2015", "endDate": "2015-06-28", "exhibitionLegs": [ { "dateText": "4 April 2015 – 28 June 2015", "endDate": "2015-06-28", "id": 9542, "startDate": "2015-04-04", "venueName": "National Centre for Craft & Design (Sleaford, UK)", "venueWebsiteUrl": null } ], "id": 7832, "startDate": "2015-04-04", "title": "ARTIST ROOMS 2015: Vija Celmins", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "2 February 2018 – 6 May 2018", "endDate": "2018-05-06", "exhibitionLegs": [ { "dateText": "2 February 2018 – 6 May 2018", "endDate": "2018-05-06", "id": 11882, "startDate": "2018-02-02", "venueName": "New Art Gallery Walsall (Walsall, UK)", "venueWebsiteUrl": "http://www.artatwalsall.org.uk/" } ], "id": 9740, "startDate": "2018-02-02", "title": "ARTIST ROOMS 2018: Vija Celmins", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "15 December 2018 – 12 January 2020", "endDate": "2020-01-12", "exhibitionLegs": [ { "dateText": "15 December 2018 – 31 March 2019", "endDate": "2019-03-31", "id": 12317, "startDate": "2018-12-15", "venueName": "San Francisco Museum of Modern Art (San Francisco, USA)", "venueWebsiteUrl": null }, { "dateText": "1 May 2019 – 31 August 2019", "endDate": "2019-08-31", "id": 12318, "startDate": "2019-05-01", "venueName": "Art Gallery of Ontario (Toronto, Canada)", "venueWebsiteUrl": "http://www.ago.net" }, { "dateText": "1 October 2019 – 12 January 2020", "endDate": "2020-01-12", "id": 12319, "startDate": "2019-10-01", "venueName": "The Met Breuer (New York, USA)", "venueWebsiteUrl": null } ], "id": 10145, "startDate": "2018-12-15", "title": "Vija Celmins", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "3 February 2024 – 18 May 2025", "endDate": "2025-05-18", "exhibitionLegs": [ { "dateText": "3 February 2024 – 4 May 2024", "endDate": "2024-05-04", "id": 15179, "startDate": "2024-02-03", "venueName": "Hatton Gallery (Newcastle upon Tyne, UK)", "venueWebsiteUrl": null }, { "dateText": "17 May 2024 – 18 August 2024", "endDate": "2024-08-18", "id": 15180, "startDate": "2024-05-17", "venueName": "Burgh Hall (Dunoon, UK)", "venueWebsiteUrl": null }, { "dateText": "19 October 2024 – 12 January 2025", "endDate": "2025-01-12", "id": 15181, "startDate": "2024-10-19", "venueName": "The Box (Plymouth, UK)", "venueWebsiteUrl": null } ], "id": 12457, "startDate": "2024-02-03", "title": "Vija Celmins", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "15 June 2025 – 21 September 2025", "endDate": "2025-09-21", "exhibitionLegs": [ { "dateText": "15 June 2025 – 21 September 2025", "endDate": "2025-09-21", "id": 15860, "startDate": "2025-06-15", "venueName": "Fondation Beyeler (Riehen/Basel, Switzerland)", "venueWebsiteUrl": "http://www.beyeler.com" } ], "id": 12991, "startDate": "2025-06-15", "title": "VIJA CELMINS", "type": "Loan-out" } ]

Web #1

1,999

ARTIST ROOMS Tate and National Galleries of Scotland

1999

CLEARED

5

support: 565 × 649 mm frame: 601 × 685 × 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\nWeb #1 is a large charcoal drawing on paper of a spider’s web, based on a found photograph and not the direct observation of nature. It is signed and dated by the artist beneath the bottom right corner of the drawing. The charcoal drawing is positioned centrally on a large sheet of landscape-oriented paper and is contained by a relatively neat border – achieved by placing a piece of card around the image as the charcoal background is worked into the paper and to the edges, creating a softly feathered, rather than precise, linear border. The paper support has a slightly textured surface, so that the many layers of charcoal do not achieve a total black coverage of the off-white paper, but rather give the drawing a greyscale tonal quality. Explaining the working method for her charcoal drawings such as this one and Night Sky #19 1998 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-night-sky-19-ar00163\" title=\"View the details of this artwork\">AR00163</a>), the artist has stated: ‘I work the sheet with my hand, putting on charcoal in layers, and then I start taking it off with my hand, with my breath, and then with various kinds of erasers.’ (Quoted in Rippner 2002, p.28.) This can be understood as a kind of negative drawing – a process that moves backwards towards the original colour and surface of the paper. \nThe lines of the web are not crisply defined, appearing softly diffuse as they rise from the background, with charcoal dust clinging in places. There are brighter white areas of the web structure where there has been a more intensive use of the eraser to highlight the radiating strands of the web. The web stretches taut across the image surface, touching all four edges and creating strong diagonals across the picture plane. It is a drawing that is both produced mechanically (the electric eraser and photographic source) and laboriously, physically created by hand. Numerous fine threads are visible to the eye, but the charcoal atmosphere suffuses every line with a muted, cloaked character. \nAs the curator Jonas Storsve noted in 2006, ‘The spider web is the most recent motif to make its appearance in the artist’s drawings, although it figured in a painting in 1992’ (Storsve 2006, p.24). The curator Samantha Rippner has written of this introduction of the web into Celmins’s restricted range of imagery: \n\n<blockquote>Celmins’s webs arrive absent their makers: no obvious signs of life or its intrinsic expressiveness are visible. Yet we are left, ironically, to contemplate the product of a painstaking effort – by both the spider and the artist. This is because Celmins does not imbue the spider with iconographical significance, as other artists have done. She takes a more pragmatic approach, identifying with it as a fellow builder of structures that, although possessing an inherent constancy, are each subtly different. </blockquote>\n<blockquote>(Rippner 2002, p.9.)</blockquote>\n\nWeb #1 is one of five spider web works by Celmins in ARTIST ROOMS, the remaining four of which are examples of the artist’s wide-ranging printmaking practice (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-untitled-web-1-ar00476\" title=\"View the details of this artwork\">AR00476</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-untitled-web-4-ar00479\" title=\"View the details of this artwork\">AR00479</a>), produced and published two years after Web #1. Highlighting the close relationship between her drawing techniques and printmaking – mezzotint prints such as Untitled (Web 1) 2001 (Tate AR00476) in particular – Celmins has commented: \n\n<blockquote>I believe working on the mezzotint, which I found to be very bizarre at first – working from black to white – influenced all those charcoal drawings. I started the drawings because I was beginning to think my painting was getting too concentrated, too tight, and I wanted to make work that was a little more open, maybe get more gesture in there with my hand. So I picked a fluid, dusty, malleable material like charcoal to trick myself into this mode.</blockquote>\n<blockquote>(Quoted in ibid., p.28.)</blockquote>\nUnderstanding the gestural potential of charcoal, Celmins subjects her chosen medium to analytic scrutiny, considering its various effects and qualities and feeding off the technical possibilities of printmaking. The artist reminds the viewer that the physical construction of the work figures equally to the structure of the representational subject matter itself. \nRegarding the issue of scale within the web drawings, the poet and art critic Bill Berkson has observed:\n\n<blockquote>the webs signal fresh turns in Celmins’ aptitude for pattern recognition and her way of running up an image in an indeterminate scale. One is tempted to see them as rendered actual-size, but their history as printed matter leaves us clueless as to what perspective originally claimed them.</blockquote>\n<blockquote>(Berkson 2001, p.5.)</blockquote>\nThis confusing status – where the notion of the ‘original’ image is continually displaced – is cultivated by the artist’s purposeful ambiguity, reusing photographic sources across numerous works of art, varying only the density or pressure of the charcoal medium to produce infinite variations on a structurally tight theme. The question mark over any potential meaning, metaphorical, personal or otherwise, is allowed to hover, but is never answered. \n\nFurther reading \n Bill Berkson, ‘Spellbound’, in Vija Celmins, exhibition catalogue, McKee Gallery, New York 2001, pp.3–5. Samantha Rippner, The Prints of Vija Celmins, exhibition catalogue, Metropolitan Museum of Art, New York 2002. Jonas Storsve and others, Vija Celmins: Dessins = Drawings, exhibition catalogue, Centre Pompidou, Paris 2006, reproduced p.143.\nStephanie Straine May 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": "Celmins's intense monochromatic images of the night sky, based on photographs, focus on small and individual marks in the context of vastness. The images seem fragile because they record a specific human glimpse through a telescope or camera which is ephemeral and frozen in time. Celmins's serial exploration of her subjects, including the night sky, allows the artist to exploit the distinct characteristics of the variety of media she uses. This meticulous, translucent web is typical of her apparently fragile, ephemeral images. These images echo the web-like construction of the universe, a further preoccupation of the artist. Celmins has explained: “Maybe I identify with the spider. I'm the kind of person who works on something forever and then works on the same image again the next day.\"\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "animals: features", "astronomy", "emotions, concepts and ideas", "ephemerality", "fragility", "universal concepts", "universe", "web" ]

null

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64 69 5448 17861 30 17774 17862

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Paint on wall

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Wall Drawing 1136

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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

AR00165

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Sol LeWitt

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Wall Drawing #1136 is a colourful and lively acrylic paint installation by the American conceptual artist Sol LeWitt, and an example of the artist’s long-term commitment to wall drawing as a central component of his artistic practice. The work is composed of both curved and straight solid bands of colour that are painted directly onto the surface of a wall using every primary (red, yellow, blue) and secondary (green, orange, purple) colour plus grey. The curve, made up of nine interlocking bands in these seven colours (there are two bands each of red and green), snakes along the wall, touching the top and bottom of the wall at various points. The same seven colours reappear, in an irregular sequence, as vertical bands that serve as a background pattern for the curve. Every band in the wall drawing is of the same width and there is no area left empty of colour. With the exception of his very first wall drawing exhibited at the Paula Cooper Gallery in New York in 1968, the artist did not execute the wall drawings himself; rather, he employed draughtsmen or assistants to carry out specific instructions to copy and enlarge his diagram of the drawing to the wall itself.

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1504

installation paint wall

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Wall Drawing #1136

2,004

ARTIST ROOMS Tate and National Galleries of Scotland

2004

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

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nWall Drawing #1136 is a colourful and lively acrylic paint installation by the American conceptual artist Sol LeWitt, and an example of the artist’s long-term commitment to wall drawing as a central component of his artistic practice. The work is composed of both curved and straight solid bands of colour that are painted directly onto the surface of a wall using every primary (red, yellow, blue) and secondary (green, orange, purple) colour plus grey. The curve, made up of nine interlocking bands in these seven colours (there are two bands each of red and green), snakes along the wall, touching the top and bottom of the wall at various points. The same seven colours reappear, in an irregular sequence, as vertical bands that serve as a background pattern for the curve. Every band in the wall drawing is of the same width and there is no area left empty of colour. With the exception of his very first wall drawing exhibited at the Paula Cooper Gallery in New York in 1968, the artist did not execute the wall drawings himself; rather, he employed draughtsmen or assistants to carry out specific instructions to copy and enlarge his diagram of the drawing to the wall itself. \nA letter of instruction, an installation diagram and a certificate pertaining to Wall Drawing #1136 can be found in Tate Gallery Records (PC10.1 LeWitt, Sol). These documents are in a format consistent with all wall drawings issued by the Sol LeWitt Studio prior to the artist’s death in 2007. Wall Drawing #1136 was first installed at the Fraenkel Gallery in San Francisco, California in September 2004 and was drawn by Marta Ayala, Sachiko Cho, Matt DeJong, Amanda Eicher, Melissa Levin, Amy Rathbone, Rick Salas and Paul Wackers. This information, along with a description of the work, is detailed in the wall drawing certificate, which is authenticated and signed by the artist. The accompanying letter, from the Sol LeWitt Studio Manager Susanna Singer, states: ‘Please be advised that the documents are the signature for the Wall Drawing and must accompany the Wall Drawing if it is sold or otherwise transferred. They represent the transfer of ownership from the artist to you … Under no circumstances will we issue a new certificate!’ (Tate Gallery Records PC10.1 LeWitt, Sol.) \nThe diagram is a small colour inkjet print that lays out the pattern of the wall drawing in one continuous elongated horizontal band, and is accompanied by a statement that reads: ‘This is a diagram for the Sol LeWitt wall drawing number 1136. It should accompany the certificate if the wall drawing is sold or otherwise transferred but is not a certificate or drawing’ (Tate Gallery Records PC10.1 LeWitt, Sol). This emphasises the importance of the finished artwork to the fundamental meaning of the conceptual idea. As the artist clarified in a 1971 article for Art Now: ‘The plan exists as an idea but needs to be put into its optimum form. Ideas of wall drawings alone are contradictions of the idea of wall drawings.’ (Quoted in Zevi 1995, p.96.) \nWall Drawing #1136 can be installed, removed, and then reinstalled in another location, as many times as required for exhibition purposes. As such, there can also be periods of time in which the work does not exist in physical form. The curator John S. Weber explains that: ‘As conceptual ideas that can be drawn, painted over, and redrawn by others, the wall drawings reengineer the fundamental nature of art in ways that favour a new degree of public access … The wall drawing’s very nature is collaborative and participatory ... They are conceived to accommodate their forms to different architectural situations and sites.’ (Quoted in Garrels 2000, p.98.) At the Fraenkel Gallery exhibition in 2004, Wall Drawing #1136 was installed on three walls of eleven feet high, with lengths of seventeen, thirty-six and seventeen feet respectively. When transferred to another location, the number of walls can change only by ensuring that the proportions of the original diagram are retained. In 1970, the artist stated: ‘When large walls are used the viewer would see the drawings in sections sequentially, and not the wall as a whole.’ (Quoted in Zevi 1995, p.91.) The composition of Wall Drawing #1136 is especially suited to the viewer’s gradual, meandering enjoyment of the drawing as it spreads across a number of interconnecting walls.\nThe artist’s first wall drawings of the 1960s were wholly monochromatic. In 1975 LeWitt introduced coloured grounds to his wall drawings and in 1983 he began to employ colour ink washes. The writer and curator Brenda Richardson has considered a subsequent shift in the nature of the wall drawings, significant to Wall Drawing #1136 and all the works of the 1990s and 2000s: \n\n<blockquote>In the 1990s LeWitt began to favour acrylic as the primary medium for his wall drawings. It was the first new medium … to alter the fundamental aesthetic course of the wall drawings. By adding acrylic to his regular inventory of materials, he began working on walls in what is technically a painting medium. Pencil, crayon, chalk, and ink – the materials used by LeWitt for his wall drawings since 1968 – are traditionally identified as drawing media. LeWitt continued to use the term ‘wall drawings’ for this body of work, regardless of the medium in which the work is executed.</blockquote>\n<blockquote>(Quoted in Garrels 2000, p.45.)</blockquote>\nThis sense of continuity highlights the importance of drawing as a conceptual, rather than strictly material practice for LeWitt. The introduction of acrylic paint into the wall drawings opens up their strict set of rules and procedures to vibrant ranges of colours and bold, graphic shapes – and even more traditional painterly concerns. The artist Ellen Carey has considered this particular facet in a related work, Wall Drawing 1131: Whirls and twirls (Wadsworth) 2004 (Wadsworth Atheneum, Hartford, Connecticut), which shares the same colour scheme as Wall Drawing #1136. She writes: ‘The rainbow’s colours – red, orange, yellow, green, blue, indigo, and violet – are formed when the sun’s rays are reflected and refracted by drops of rain and mist. Forming the basis for LeWitt’s work, this palette acts as a connection between his affinities for nature in general and this phenomenon specifically.’ (Quoted in Cross and Markonish 2009, p.25.) The curve in Wall Drawing #1136 can indeed be read as a series of rainbow arcs joined in progression, blurring the boundaries between abstraction and representation. A comment made by LeWitt in the early 1980s hints at his awareness of the increasingly colourful and exuberant nature of his wall drawings: ‘When represented with the scale that walls have one must begin to engage their physical properties. The theatrical and decorative are unavoidable and should be used to emphasize the work.’ (Quoted in Zevi 1995, p.104.) \n\nFurther reading \n Adachiara Zevi (ed.), Sol LeWitt: Critical Texts, Rome 1995. Gary Garrels (ed.), Sol LeWitt: A Retrospective, exhibition catalogue, San Francisco Museum of Modern Art 2000. Susan Cross and Denise Markonish (eds.), Sol LeWitt: 100 Views, New Haven 2009. \nStephanie Straine August 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": "LeWitt was seminal in establishing the notion of ‘Conceptual art’ during the 1960s. This work is one of a number of highly coloured wall pieces he made in the last years of his life. Described simply as ‘curved and straight coloured bands’, it includes seven vibrant colours to create an overwhelming chromatic environment that envelopes the viewer. Nine weaving bands interrupt vertical lines and add a sense of playfulness. Although this dynamism suggests an element of chance, LeWitt’s works are created according to precise instructions that regulate details such as the sequence of colours and width of bands.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstraction", "colour", "geometric", "non-representational" ]

null

false

225 226 185

false

artwork

Aluminium, steel, wood and plastic

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3,531

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2,003

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Table and Four Chairs

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

AR00166

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

7013596 7013649 7007251 7012149

Robert Therrien

2,003

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No Title (Table and Four Chairs) is a multi-part sculpture of a dining room set, enlarged to three times its original size. It consists of five objects: one table and four chairs, which are arranged around the respective sides of the table, drawn out slightly to leave a space in each case between the table edge and chair leg. The colossal sculpture stands over ten feet high, tall enough for viewers to walk easily beneath its vast expanse. Although the sculpture mimics the wooden construction of a typical dining room set, it is created with a mixture of aluminium, steel, wood and plastic. The surfaces have been painted with a wood grain effect finish.

false

1

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2312

installation aluminium steel wood plastic

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No Title (Table and Four Chairs)

2,003

ARTIST ROOMS Tate and National Galleries of Scotland

2003

CLEARED

3

displayed: 8920 × 14850 mm object, each (Chair): 2860 × 1430 × 1730 mm object (Table): 2690 × 4685 × 3620 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\nNo Title (Table and Four Chairs) is a multi-part sculpture of a dining room set, enlarged to three times its original size. It consists of five objects: one table and four chairs, which are arranged around the respective sides of the table, drawn out slightly to leave a space in each case between the table edge and chair leg. The colossal sculpture stands over ten feet high, tall enough for viewers to walk easily beneath its vast expanse. Although the sculpture mimics the wooden construction of a typical dining room set, it is created with a mixture of aluminium, steel, wood and plastic. The surfaces have been painted with a wood grain effect finish.\nSince the 1990s Therrien has created oversized sculptures of utilitarian objects in primary colours or in black or white. The objects he chooses are usually basic in form, including, for example, chairs, tables, plates, bowls and oil cans. It is an important feature of the work that the objects as well as their form and function are easily recognisable. Rather than inventing the style of his furniture, Therrien models many of his sculptures on simple designs from the early to mid-twentieth century. His table and chair ensembles, which date from the early 1990s, were inspired by furniture created by the American manufacturers Gunlocke, a company that was founded in 1902 and was renowned for its handcrafted wooden office furniture. In 1993 Therrien made his first work with table and chairs, No Title (Yellow Table Leg) (Museum of Modern Art, New York), inspired by the first Gunlocke table and chair set he purchased. The following year Therrien produced a related work, Under the Table (The Broad Art Foundation). No Title (Table and Four Chairs) is based on Therrien’s own Gunlocke-designed kitchen table in his home in Los Angeles.\n\nNo Title (Table and Four Chairs) invites the viewer to walk around and underneath it, experiencing the sculpture physically and additionally transforming the viewer’s perception of the exhibition space. Despite their physical quality, however, the roots of Therrien’s table and chair works lie in photography. Intrigued by the view beneath his kitchen table, the artist took a series of black and white photographs from the perspective of his floor. No Title (Table and Four Chairs), as well as the preceding sculptures, is an attempt to create the same dramatic viewpoint as in the photographs.\nThe experimentation with scale also has a psychological dimension, making viewers feel small in relation to these otherwise conventional household objects. The sculpture removes the viewer from his or her usual position above the tabletop, to navigate through the table and chair legs, and investigate magnified structural details that would usually be hidden from view. The experience of walking underneath No Title (Table and Four Chairs) prompts a childlike nostalgia; one which perhaps recalls Jonathan Swift’s Gulliver’s Travels (1726) or Lewis Carroll’s Alice in Wonderland (1865). The fantastical quality of these literary works may also arguably be seen as an element in Therrien’s sculpture, despite the ordinariness and familiarity of his chosen objects.\n\nFurther reading\n Lynn Zelevansky, Robert Therrien, exhibition catalogue, Los Angeles Country Museum of Art, Los Angeles 2000. Norman Bryson and Margrit Rowell, Robert Therrien, exhibition catalogue, Gagosian Gallery, London 2008.\nKathryn Lloyd November 2011\n</div>\n", "display_name": "Summary", "publication_date": "2013-06-24T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "chair", "emotions, concepts and ideas", "formal qualities", "furnishings", "mystery", "objects", "scale", "table", "universal concepts" ]

null

false

750 82 4771 17629 826 30

false

artwork

Stainless steel

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3,532

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2,004

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Oil Can

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

AR00167

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

7013596 7013649 7007251 7012149

Robert Therrien

2,004

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false

1

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sculpture stainless steel

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No Title (Oil Can)

2,004

ARTIST ROOMS Tate and National Galleries of Scotland

2004

CLEARED

8

unconfirmed: 2465 × 745 × 745 mm, 257 kg

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

[]

[ "emotions, concepts and ideas", "formal qualities", "objects", "oil can", "scale", "vessels and containers" ]

null

false

18585 17629 170

false

artwork

Photograph, black and white, on paper with chalk, graphite and paint on hardboard

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3,533

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1,997

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Scrubbrush panel

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

AR00168

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7013596 7013649 7007251 7012149

Robert Therrien

1,997

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false

1

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2312

paper unique photograph black white chalk graphite paint hardboard

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No Title (Scrubbrush panel)

1,997

ARTIST ROOMS Tate and National Galleries of Scotland

1997

CLEARED

5

object: 1209 × 1611 × 65 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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9366 83

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artwork

Print on paper

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3,534

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2,003

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Large Red Brick Drawing

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

AR00169

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7013596 7013649 7007251 7012149

Robert Therrien

2,003

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2312

paper unique print

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No Title (Large Red Brick Drawing)

2,003

ARTIST ROOMS Tate and National Galleries of Scotland

2003

CLEARED

5

support: 606 × 700 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

[]

[ "architecture", "townscapes / man-made features", "wall" ]

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211

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2 photographs, colour, on paper on printed paper

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George Cunt and Gilbert Shit

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

AR00170

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

Gilbert & George

1,969

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This ‘magazine sculpture’ was published in the journal Studio International in 1970, where it was shown in black and white with the offending words censored. Gilbert & George have described this work as an attempt to pre-empt criticism of themselves: ‘we knew there was a battle ahead and we wanted to be in there first, long before somebody could say we weren’t good artists, we couldn’t draw or we couldn’t paint, long before all that criticism began, we had already attacked ourselves, called ourselves “a Shit and a Cunt”’.Gallery label, February 2010

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George the Cunt and Gilbert the Shit

1,969

ARTIST ROOMS Tate and National Galleries of Scotland

1969

CLEARED

4

displayed: 305 × 484 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\nGeorge the Cunt and Gilbert the Shit is a colour photograph by Gilbert & George. In this double self-portrait the artists are depicted from the waist up, both wearing suits with flowers attached to lapels. The work consists of two separate portraits, printed on either side of a double-page spread. The artists both look directly at the camera and smile as they appear to sit on grass, which makes up the background of each image. George, on the left, lifts a hand holding a cigarette while Gilbert, on the right, leans backward resting his hand on the ground. Letters, cut from paper, are attached to their suits like signs – George’s message reads ‘George the Cunt’ and Gilbert’s reads ‘Gilbert the Shit’.\nThis work is one in a series of ‘magazine sculptures’ that were published in newspapers and magazines and occasionally printed on postcards. However, George the Cunt and Gilbert the Shit was first shown at 3pm on 10th May 1969 at the Robert Fraser Gallery in London by invitation only. It was then subsequently revealed to the public as a black and white reproduction in the journal Studio International in May 1970 (vol.179, no.922, pp.218–21) with the obscene words covered over. The composition, which has an appearance of spontaneity, was actually premeditated with several negatives taken in preparation for the final piece.\nGilbert & George wrote two texts to accompany George the Cunt and Gilbert the Shit. In one text they describe a utopian ‘newer better world’ they envisaged as artists, and which would run according to four ‘laws of sculptors’ (reproduced in Ratcliff 1980, p.51). The first of these laws – ‘Always be smartly dressed, well groomed, relaxed, friendly, polite and in complete control’ – corresponds to the presentation of the artists in this work. This law also hints at Gilbert Prousch and George Passmore’s development of a conceptual practice in which their lives became ‘sculpture’. Their practice extended from ‘postal sculptures’, to ‘singing sculptures’, to ‘magazine sculptures’ and most famously to their presentation as ‘living sculptures’. This motif, which has endured throughout Gilbert & George’s career, refers to the artists’ assertion that their work physically occupies space regardless of media. They have described George the Cunt and Gilbert the Shit as a pre-emptive attempt to deter criticism against their unusual art practice:\n\n<blockquote>We knew there was a battle ahead and we wanted to be in there first, long before somebody could say we weren’t good artists, we couldn’t draw or we couldn’t paint, long before all that criticism began, we had already attacked ourselves, called ourselves ‘a Shit and a Cunt’. (Quoted in ‘George the Cunt and Gilbert the Shit’, National Galleries of Scotland, <a href=\"https://www.nationalgalleries.org/object/AR00170\">https://www.nationalgalleries.org/object/AR00170</a>, accessed 7 December 2015.)</blockquote>\nGilbert & George’s Cunt Scum 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/gilbert-george-cunt-scum-t07406\" title=\"View the details of this artwork\">T07406</a>) also makes use of obscene language, showing the artists either side of an image of graffiti that reads ‘Scum’. By placing themselves alongside this word, the artists appear to attach the word ‘cunt’ to themselves. Art historian Brenda Richardson observes that while works such as these might seem inappropriate or indecent to some audiences, Gilbert & George aim to ‘un-shock people’ and, in the artists’ own words, ‘bringing these subjects into the open, allowing them to live and breathe’ (Brenda Richardson, Gilbert & George, exhibition catalogue, Baltimore Museum of Art, Baltimore 1984, p.15).\nSince meeting as students at St Martin’s School of Art in London in 1967, Gilbert & George have developed an art practice that can be distinguished by their unrelenting dedication to and personal investment in living as an artistic duo all the time. Through their formal, almost uniform appearance, the removal of their surnames and combination of their first names, the artists relinquished their individual identities. George the Cunt and Gilbert the Shit is an early example of the artists developing their single character through photography. The artists identify themselves individually by name in the work, which indicates that their inseparability had not yet been fully established. Art historian Anders Kold has observed that their conjoined character is in accordance with the art produced in the 1960s in which concept was placed above expression, writing that as ‘two in one’ Gilbert & George were able to escape from old fashioned ideas of individual authorial control and creativity (Sørensen and Kold 1992, p.10).\n\nFurther reading\n Carter Ratcliff, Gilbert and George: 1968 to 1980, exhibition catalogue, Van Abbemuseum, Eindhoven 1980, pp.8, 313, reproduced pp.52–3. Wolf Jahn, The Art of Gilbert & George, London 1989, reproduced p.18. Jens Erik Sørensen and Anders Kold (eds.) Gilbert & George: New Democratic Pictures, exhibition catalogue, Aarhus Kunstmuseum, Denmark 1992, reproduced p.28.\nDaisy Silver University of Edinburgh November 2015\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n\n</div>\n", "display_name": "Summary", "publication_date": "2017-01-23T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "This ‘magazine sculpture’ was published in the journal Studio International in 1970, where it was shown in black and white with the offending words censored. Gilbert & George have described this work as an attempt to pre-empt criticism of themselves: ‘we knew there was a battle ahead and we wanted to be in there first, long before somebody could say we weren’t good artists, we couldn’t draw or we couldn’t paint, long before all that criticism began, we had already attacked ourselves, called ourselves “a Shit and a Cunt”’.\n \n", "display_name": "Display caption", "publication_date": "2010-02-18T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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Fallen Leaves

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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

AR00171

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Fallen Leaves is one of a series of over a hundred works collectively titled ‘Modern Fears’ which explicitly invoke death and decay. The artists have said of this period that ‘we felt the style of the Western world, the fabric of its life, was very threatened’. With this body of work they presented both the bleak horror and great beauty of life as they saw it in their immediate urban environment. The series depicts many figures who appear to be disenfranchised from mainstream society. Fallen Leaves, for example, depicts close up the inscrutable features of a local tramp.Gallery label, February 2010

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Fallen Leaves

1,980

ARTIST ROOMS Tate and National Galleries of Scotland

1980

CLEARED

4

frame: 606 × 505 × 23 mm displayed: 2424 × 2020 × 23 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\nFallen Leaves is a black and white photographic work by Gilbert & George in which a portrait of a homeless man is framed by six leaves of various sizes. The four leaves on either side of the man’s face point upward, while the top leaf is pointed left and the bottom leaf to the right. The man stares directly at the camera with a face covered in unkempt facial hair. His face has signs of injury, including a gash on the right side of his nose, a cut on his lip and an abrasion on his right cheek. The work consists of sixteen individually framed pieces arranged to produce a single image. The thin black lines of the frames form a four by four grid across the composition. The title and date of the work, in addition to the artists’ signatures, are printed in black ink in the lower right panel.\nThe sixteen prints in Fallen Leaves were developed using the gelatin silver process, which produces black and white images. In the case of this work the photographs were printed on resin-coated paper and later hand-coloured before being dry mounted on thin board and framed in black-painted aluminium frames with Perspex glazing. When exhibited, the sixteen framed works are hung on horizontal tracks.\nGilbert & George have lived and worked together on Fournier Street in east London since 1968. They first produced photographic compositions in the 1970s and within a decade gridded assemblages formed by individual prints became a major and lasting part of their oeuvre. Early on the artists established a pattern of photographing each other, and it was not until 1980 that Gilbert & George began to take arranged photographs of others. To obtain images of other people before this point, the artists had photographed covertly from the window of their home with a telephoto lens. Art historian Brenda Richardson writes that by directing models in the studio or photographing subjects on the street with permission, Gilbert & George found they could exert greater artistic control over their subjects (Richardson 1984, p.55). The man depicted in Fallen Leaves was one such model who agreed to be photographed in situ, and it is through works such as this that the artists increasingly explored and interacted with the urban environment around them. This is further evidenced by the artists’ 1981 film The World of Gilbert & George, where shots of city streets, urban buildings and the homeless are given prominence. The duo’s reverence for the city can be seen in earlier series such as The Dirty Words Pictures 1977, where assembled photographs depict graffiti and city architecture (see, for instance, Cunt Scum 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/gilbert-george-cunt-scum-t07406\" title=\"View the details of this artwork\">T07406</a>).\nThe six ‘fallen leaves’ that border the portrait are perhaps symbolic of individuals that have fallen from the collective tree and are living on the fringes of society. In this way Fallen Leaves can be seen to embody Gilbert & George’s declaration of an ‘Art for All’, expressed in their 1986 statement ‘What Our Art Means’. In it the artists declared: ‘We want Our Art to speak across barriers of knowledge directly to People about their Life and not about their knowledge of art’ (Gilbert & George, ‘What Our Art Means’, reproduced in Hans Ulrich Obrist and Robert Violette (eds.), The Words of Gilbert & George, London 1997, p.149). This statement can be seen as a pledge by the artists to create works relevant to those outside the narrow parameters of the art world. Additionally, Gilbert & George have explained their intention to encourage the acceptance of diverse groups by wider society: ‘Relationships between people and the world are fraught with enormous misunderstandings and frustrations. Barriers can only be broken down by culture. In our pictures, this is probably our greatest concern, now more than ever before.’ (Gilbert and George: The Complete Pictures 2007, p.9.)\n\nFallen Leaves is part of the series Modern Fears, which was produced between 1980 and 1981 (see also Happy 1980, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/gilbert-george-happy-t07156\" title=\"View the details of this artwork\">T07156</a>). The series touches on the hopes and fears experienced by dwellers in a modern metropolis. In a 1985 interview George explained that: ‘We’re not interested in formal aspects of picture making, we think that’s decadent. Blue in the corner and a green line down there. We like the idea of bringing a respect to the individual in the world.’ (‘Morning Coffee with Gilbert & George: Interview 1985’, reproduced in Obrist and Violette 1997, p.142.) Often depicting the disenfranchised and dispossessed, Gilbert & George endeavour to present an unfiltered depiction of their immediate urban environment. In 1981 they explained: ‘We don’t exclude anything, we like the whole. Sometimes we do represent disturbed times … If that is the case’ (‘Gilbert & George: An Interview with Mark Francis’, reproduced in Obrist and Violette 1997, p.115).\nEven within the restricted locality of their geographical area, the artists have been able to capture a broad range of human experiences, expressing concerns that are at once local and universal. A dedication to this subject matter has long persisted in Gilbert & George’s artistic output: their early performance The Singing Sculpture was presented in 1969, featuring the artists singing ‘Underneath the Arches’, a 1932 song originally performed by comedians Flanagan and Allen, who assumed the character of two homeless men who romanticise sleeping on the streets. More than decade later, in The World of Gilbert & George, the artists interview a drunk, homeless man who, in a later scene, is invited into their home for a meal.\n\nFurther reading\n Brenda Richardson, Gilbert & George, exhibition catalogue, Baltimore Museum of Art, Baltimore 1984, reproduced p.101. \nGilbert & George: The Complete Pictures, 1971–2005, London 2007, reproduced p.318. \nGilbert & George: Major Exhibition, exhibition catalogue, Tate Modern, London 2007.\nDaisy Silver The University of Edinburgh July 2016\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n\n</div>\n", "display_name": "Summary", "publication_date": "2017-06-14T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "Fallen Leaves is one of a series of over a hundred works collectively titled ‘Modern Fears’ which explicitly invoke death and decay. The artists have said of this period that ‘we felt the style of the Western world, the fabric of its life, was very threatened’. With this body of work they presented both the bleak horror and great beauty of life as they saw it in their immediate urban environment. The series depicts many figures who appear to be disenfranchised from mainstream society. Fallen Leaves, for example, depicts close up the inscrutable features of a local tramp.\n \n \n", "display_name": "Display caption", "publication_date": "2010-02-18T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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CRUSADE

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

AR00172

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Gilbert & George

1,980

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Around 1974 Gilbert & George began to make ordered rectangular grids of their imagery, a format they have followed and developed to the present day. Crusade also shows an early example of their increasing use of colour. Having trained as sculptors, they were initially uncertain about how to use colour, adding only red at first to their black and white compositions. Here, there is a link between the title, which refers to a military expedition undertaken by Christians in Europe in the middle ages, and the fact that the artists are holding the backs of the chairs as if they were crosses.Gallery label, February 2010

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1163

paper print 16 hand-coloured photographs gelatin silver board

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CRUSADE

1,980

ARTIST ROOMS Tate and National Galleries of Scotland

1980

CLEARED

4

frame (each): 606 × 505 × 23 mm displayed: 2424 × 2020 × 23 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\nCRUSADE is a set of sixteen hand-coloured, individually framed photographs arranged in a four by four grid to form a single image. The composition is split vertically into three colour fields of yellow and red. A grid formed by the thin, black frames additionally divides the artwork. The artists themselves are depicted: George on the left and Gilbert on the right. Both figures are bathed in a bright yellow overlay while an unoccupied chair in the central section is covered in a red overlay. The artists, dressed in their signature business attire, are identically posed: sitting backwards on wooden chairs, they grasp with both hands the central, vertical strut of the chair they rest on. The central chair – scaled up so as to fill twice as much space as each of the artists – is identical to the ones Gilbert & George sit on, and is cropped so that only the back is presented to the viewer, highlighting the cross shape that it forms. The title and date of the work, in addition to the artists’ signatures, are printed in black ink in the lower right panel.\nThe sixteen prints in CRUSADE were developed using the gelatin silver process, which produces black and white images. The photographs were printed on resin-coated paper and later hand-coloured red and yellow before being dry mounted on thin board and framed in black-painted aluminium frames with Perspex glazing. When exhibited, the framed works are hung on horizontal tracks.\nBy 1980 the use of bright colour played a pivotal role in Gilbert & George’s work. Art historian Wolf Jahn observes that in CRUSADE the artists use colour as a way to establish a hierarchy in their artworks: ‘Yellow and red serve to emphasize the cross on one hand and the men who are subordinate to it on the other’ (Jahn 1989, p.277). The amount of space occupied by the central cross in comparison to the space occupied by the figures on either side supports this interpretation. While this hierarchy implies reverence for the cross, the use of chairs to create the symbol emphasises its ubiquitous, commonplace existence in Christian culture, as well as more broadly.\nAlong with the addition of red and yellow to the artists’ palette, around this time the duo began to frame their prints to create grids across the compositions. In CRUSADE the luminescent colours and black outlines of the frames evoke stained glass windows such as are found in churches, imbuing the work with a religious quality. This interpretation is further evidenced by Gilbert & George clutching the chairs’ cross-shaped struts. While the cross is symbolic of Christianity and the crucifixion of Jesus Christ, the title, CRUSADE, is a reference to the religious expeditions undergone by Christian Europeans in the eleventh, twelfth and thirteenth centuries to recover the Holy Land of Jerusalem. Commenting on these religious allusions, art historian Brenda Richardson observes that CRUSADE ‘cast[s] the artists in the role of Christian contemplatives, looking toward both world and afterlife salvation’ (Brenda Richardson, Gilbert & George, exhibition catalogue, Baltimore Museum of Art, Baltimore 1984, p.43).\n\nCRUSADE was created in the early 1980s with several other works that preceded, and would influence, one of Gilbert & George’s most famous series: Modern Fears 1980–1. At this time Gilbert & George were beginning to incorporate religious themes into works such as Black Jesus 1980 (private collection; reproduced in Ratcliff 1986, p.129). In Modern Fears images of the cross and the use of red and yellow would become more prevalent (see, for instance, Happy 1980, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/gilbert-george-happy-t07156\" title=\"View the details of this artwork\">T07156</a>). The result of this colour choice is that this series, when exhibited, creates an environment evocative of a medieval cathedral. Additionally, the triptych composition of works such as CRUSADE is reminiscent of an altarpiece.\nGilbert & George’s attention to Christianity is most likely influenced by their respective upbringings. Gilbert was raised a Catholic and George a Methodist. In the pair’s conversations with art critic François Jonquet in 2000–4, George explained that they first used religious imagery because of the prevalence of Christian symbols in London:\n\n<blockquote>When we became artists we noticed how omnipresent Christianity was. St Martin’s is a Christian name. You come across a church on every street corner. All policemen have a cross on their badge. Police stations, court rooms, school as well… Prayers are said every morning in the House of Commons and the House of Lords. In court, you have to swear on the Bible. (George in François Jonquet, Gilbert & George: Intimate Conversations with François Jonquet, London 2004, p.148.)</blockquote>\nThe artists would later depict a greater number of religious symbols in their series New Democratic Pictures 1991, including in works such as Faith Drop 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/gilbert-george-faith-drop-ar00176\" title=\"View the details of this artwork\">AR00176</a>).\n\nFurther reading\n Carter Ratcliff, Gilbert & George: The Complete Pictures, 1971–1985, exhibition catalogue, Musée d’Art Contemporain de Bordeaux, Bordeaux 1986, reproduced p.133. Wolf Jahn, The Art of Gilbert & George, London 1989, reproduced p.266. \nGilbert & George: The Complete Pictures, 1971–2005, vol. 1, London 2007, reproduced p.442.\nDaisy Silver The University of Edinburgh January 2016\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n\n</div>\n", "display_name": "Summary", "publication_date": "2017-07-07T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "Around 1974 Gilbert & George began to make ordered rectangular grids of their imagery, a format they have followed and developed to the present day. Crusade also shows an early example of their increasing use of colour. Having trained as sculptors, they were initially uncertain about how to use colour, adding only red at first to their black and white compositions. 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Hunger

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

AR00173

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‘We are driven by everything that is slightly taboo, by the forbidden.’ Sexuality is a central theme of Gilbert & George’s work, which is explored in images that are often provocative and disconcerting. Hunger and Thirst show a sexual act that is depicted in a cartoon-like, almost diagrammatic, manner. The artists have commented on these works: ‘we wanted to confront the viewers in a museum, as normally you don’t see this stuff, and make them accept it. It was done in a cartoon like way because in reality they would never have been accepted at that time’.Gallery label, February 2010

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Hunger

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ARTIST ROOMS Tate and National Galleries of Scotland

1982

CLEARED

5

frame (each): 606 × 505 × 23 mm displayed: 2424 × 2020 × 23 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\nHunger consists of sixteen individually framed photograms arranged to produce a single image. The separate frames create thin black lines that form a four by four grid across the composition. Two erect penises emerge from the base of the image and diagonally cross the grid to be received orally by two heads that emerge from the upper corners of the composition. The reciprocity of their sexual act is highlighted by the use of red and yellow, which differentiates the ownership of the corresponding body parts. The figures and their genitalia are surrounded by white space. The title and date of the work, in addition to the artists’ signatures, are printed in black ink in the bottom right panel.\nFrom 1981 onwards the range of Gilbert & George’s visual repertoire expanded significantly with the introduction to their work of the photogram technique that was used to produce Hunger. To make such works the artists created stencils and laid them onto light-sensitive paper. By exposing it to light the image of the stencil became imprinted on the paper, onto which bright dyes were then selectively applied. The photograms were dry mounted onto thin board and framed in black-painted aluminium frames with Perspex glazing. When exhibited the framed works are hung on horizontal tracks.\nThe new use of photograms in their work coincided with increased sexual narrative in Gilbert & George’s output. In the artists’ opinion, the success of the photogram was that it tempered the effect of this sexual content through the playful nature of the constructed images:\n\n<blockquote>We wanted to confront the viewers in a museum, as normally you don’t see this stuff, and make them accept it. It was done in a cartoon-like way because in reality they would never have been accepted at that time. (Quoted in ‘Hunger’, National Galleries of Scotland, Edinburgh, <a href=\"https://www.nationalgalleries.org/art-and-artists/88829/hunger\">https://www.nationalgalleries.org/art-and-artists/88829/hunger</a>, accessed 18 January 2016.)</blockquote>\n\nHunger presents fellatio as a fulfilling act. The work’s imagery implies that the artists’ use of the word ‘hunger’ references a sexual desire rather than a nutritional craving and that the sexual act depicted will ultimately alleviate this urge. Despite this, Gilbert & George’s use of sexual imagery is not intended to alarm the viewer, nor is it included for voyeuristic reasons. The artists themselves have said that ‘shocking is a media idea, it is not an artist idea’ (quoted in Tate Modern 2007, p.11). In art historian Wolf Jahn’s interpretation, the cartoonish rendering of explicit imagery can be seen as the artists utilising the medieval tradition of heraldry. Jahn observes that ‘this way of dealing with form, placing it on the picture surface and then distinguishing it by the use of colour, has important affinities with heraldry: its purpose is not realistic depiction but clear signalling. Coats of arms need to be instantly recognisable from a distance’ (Jahn 1989, p.327).\nBy differentiating the figures using colour, the viewer is able to easily identify the ownership of body parts, leading to a clear presentation of the piece’s central theme of male homosexuality. The use of photograms not only allowed the artists to present gallery audiences with sexual imagery, but also, more significantly, with homosexual imagery. Hunger was created only fifteen years after homosexual acts were decriminalised in the UK. Gilbert & George have discussed the abuse they faced living in London as openly gay men during this period. In a 1974 interview with writer Gordon Burn, Gilbert explained that ‘It was the time of the queer-bashing’ (‘Gilbert & George: Interview with Gordon Burn’, reproduced in Hans-Ulrich Obrist and Robert Violette (eds.), The Words of Gilbert & George, London 1997, p.72). Hunger simultaneously speaks of social progress and the continued challenges that were faced by the gay community.\nIn conjunction with Hunger, Gilbert & George created works including Thirst 1982 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/gilbert-george-thirst-ar00174\" title=\"View the details of this artwork\">AR00174</a>) and Sperm Eaters 1982 (reproduced in Tate Modern 2007, p.92). In addition to sharing visual similarities, these works also engage with the human body’s excretions. While scatological content had been implied or referenced in Gilbert & George’s work before this point, it had not been so openly displayed (see, for instance, George the Cunt and Gilbert the Shit 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/gilbert-george-george-the-cunt-and-gilbert-the-shit-ar00170\" title=\"View the details of this artwork\">AR00170</a>). Male sexuality had also played an important role in the artists’ work since their series Red Morning 1977 (see Red Morning Trouble, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/gilbert-george-red-morning-trouble-t07155\" title=\"View the details of this artwork\">T07155</a>), a title that perhaps refers to a new sexual awakening. Such imagery became more prevalent in The Dirty Words Pictures 1977, with male genitalia first appearing in The Penis 1978 (reproduced in Jahn 1989, p.225). In The Penis a found graffiti drawing shows a penis ejaculating into a woman’s mouth with ‘SUCK’ written underneath it. Following The Penis, Gilbert & George created a vast catalogue of works that examine sex, male sexuality and most significantly sex between men. Female sexuality is almost entirely excluded from these works, most likely because they are intended to speak for Gilbert & George’s own personal experiences. This is discussed by art historian Marco Livingstone, who has argued that the artists have used male models exclusively in their work because the boys are ‘stand-ins for the artists themselves, which is one of the prime reasons that they never use females in their pictures’ (Marco Livingstone, ‘From the Heart’, in Tate Modern 2007, p.22). Livingstone observes that this exclusion has led to misconceptions that their art is misogynistic.\n\nFurther reading\n Carter Ratcliff, Gilbert & George: The Complete Pictures 1971–1985, exhibition catalogue, CAPC Musée d’Art Contemporain de Bordeaux, Bordeaux 1986, reproduced p.184. Wolf Jahn, The Art of Gilbert & George, London 1989, reproduced p.338. \nGilbert & George: Major Exhibition, exhibition catalogue, Tate Modern, London 2007, reproduced p.91.\nDaisy Silver The University of Edinburgh January 2016\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n\n</div>\n", "display_name": "Summary", "publication_date": "2017-06-14T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "‘We are driven by everything that is slightly taboo, by the forbidden.’ Sexuality is a central theme of Gilbert & George’s work, which is explored in images that are often provocative and disconcerting. Hunger and Thirst show a sexual act that is depicted in a cartoon-like, almost diagrammatic, manner. The artists have commented on these works: ‘we wanted to confront the viewers in a museum, as normally you don’t see this stuff, and make them accept it. It was done in a cartoon like way because in reality they would never have been accepted at that time’.\n \n", "display_name": "Display caption", "publication_date": "2010-02-18T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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Thirst

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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

AR00174

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Gilbert & George

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‘We are driven by everything that is slightly taboo, by the forbidden.’ Sexuality is a central theme of Gilbert & George’s work, which is explored in images that are often provocative and disconcerting. Hunger and Thirst show a sexual act that is depicted in a cartoon-like, almost diagrammatic, manner. The artists have commented on these works: ‘we wanted to confront the viewers in a museum, as normally you don’t see this stuff, and make them accept it. It was done in a cartoon like way because in reality they would never have been accepted at that time’.Gallery label, February 2010

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Thirst

1,982

ARTIST ROOMS Tate and National Galleries of Scotland

1982

CLEARED

5

frame (each): 605 × 505 × 23 mm displayed: 2424 × 2020 × 23 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\nThirst is a work by Gilbert & George that depicts an exchange of bodily fluid in a cartoonish style. It consists of sixteen hand-coloured, individually framed photograms arranged to form a single image. The thin black lines of the frames create a four by four grid across the composition. Two penises extending from the lower edge of the image cross each other diagonally, and both are predominately black with a red glans. A yellow stream projects from each penis to be received orally by two heads that emerge from the upper two corners of the piece, their heads almost entirely black apart from blue eyes, white ears and a white hairline. Their open mouths are the same red as the two glans. The figures and their genitalia are surrounded by white space. The title and date of the work, in addition to the artists’ signatures, are printed in black ink in the bottom right panel.\nFrom 1981 onwards the range of Gilbert & George’s visual repertoire expanded significantly with the introduction to their work of the photogram technique that was used to produce Thirst. To make such works the artists created stencils and laid them onto light-sensitive paper. By exposing it to light the image of the stencil became imprinted on the paper, onto which bright dyes were then selectively applied. The photograms were dry mounted onto thin board and framed in black-painted aluminium frames with Perspex glazing. When exhibited the framed works are hung on horizontal tracks.\nThe bold colours and simplified shapes of the photograms allowed Gilbert & George to engage directly with sexual themes. This was because, in the artists’ opinion, it tempered the effect of this sexual content through the playful nature of the constructed images:\n\n<blockquote>We wanted to confront the viewers in a museum, as normally you don’t see this stuff, and make them accept it. It was done in a cartoon-like way because in reality they would never have been accepted at that time. (Quoted in ‘Hunger’, National Galleries of Scotland, Edinburgh, <a href=\"https://www.nationalgalleries.org/art-and-artists/88829/hunger\">https://www.nationalgalleries.org/art-and-artists/88829/hunger</a>, accessed 18 January 2016.)</blockquote>\n\nThirst depicts a reciprocal exchange of bodily fluids as a fulfilling act. Art historian Wolf Jahn observes that Thirst ‘stresses thirst without necessarily implying a mutual act of drinking, and thus acquires an emblematic character which alludes to the thirst for sex in the abstract’ (Jahn 1989, p.330). Similarly, in Hunger 1982 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/gilbert-george-hunger-ar00173\" title=\"View the details of this artwork\">AR00173</a>), the oral reception of a penis can ultimately be assumed to alleviate a sexual desire as opposed to a craving based on nutritional needs. Despite this overtly sexual content, art historian Marco Livingstone argues that Gilbert & George avoid the pornographic, observing that in Thirst, ‘an exchange of body substances is portrayed as a sacramental act, one that transcends disgust, as it does in the sexual act itself’ (Marco Livingstone, ‘From the Heart’, in Tate Modern 2007, p.20). Art historian Bernard Marcadé further argues that this use of explicit imagery was not intended to offend, but instead that their inclusion of bodily fluids and, later, faeces and defecation is a result of the artists’ attempt to depict a brutally honest examination of life, one which includes the body’s natural processes (Bernard Marcadé, Gilbert & George, exhibition catalogue, Muse´e d’Art Moderne de la Ville de Paris, Paris 1997, p.256). This statement fits well with Gilbert & George’s claim, put forward in their 1986 declaration ‘What Our Art Means’, that: ‘We want to find and accept all the good and bad in ourselves … We want to spill our blood, brains and seed in our life-search for new meanings and purpose to give to life’ (Gilbert & George in Ratcliff 1986, p.vii).\nIn conjunction with Thirst, Gilbert & George created the works Hunger and Sperm Eaters 1982 (Tate Modern 2007, reproduced p.92). In addition to having similar formal qualities, these works engage with the oral reception of male genitalia and its excretions. Hunger looks at reciprocal fellatio and Sperm Eaters depicts male ejaculation. While scatological content had been previously implied or referenced in Gilbert & George’s work before this point, it had not been so openly displayed (see, for instance, George the Cunt and Gilbert the Shit 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/gilbert-george-george-the-cunt-and-gilbert-the-shit-ar00170\" title=\"View the details of this artwork\">AR00170</a>). The use of photograms not only allowed the artists to present gallery audiences with sexual imagery, but also, more significantly, with homosexual imagery. Thirst was created only fifteen years after homosexual acts were decriminalised in the UK. Gilbert & George have discussed the abuse they faced living in London as openly gay men during this period. In a 1974 interview with writer Gordon Burn, Gilbert explained that ‘It was the time of the queer-bashing’ (‘Gilbert & George: Interview with Gordon Burn’, reproduced in Hans-Ulrich Obrist and Robert Violette (eds.), The Words of Gilbert & George, London 1997, p.72). Thirst simultaneously speaks of social progress and the continued challenges that were faced by the gay community.\n\nFurther reading\n Carter Ratcliff, Gilbert & George: The Complete Pictures, 1971–1985, exhibition catalogue, CAPC Musée d’Art Contemporain de Bordeaux, Bordeaux 1986, reproduced p.184. Wolf Jahn, The Art of Gilbert & George, London 1989, reproduced p.338. \nGilbert & George: Major Exhibition, exhibition catalogue, Tate Modern, London 2007, reproduced p.91.\nDaisy Silver The University of Edinburgh January 2016\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n\n</div>\n", "display_name": "Summary", "publication_date": "2017-06-14T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "‘We are driven by everything that is slightly taboo, by the forbidden.’ Sexuality is a central theme of Gilbert & George’s work, which is explored in images that are often provocative and disconcerting. Hunger and Thirst show a sexual act that is depicted in a cartoon-like, almost diagrammatic, manner. The artists have commented on these works: ‘we wanted to confront the viewers in a museum, as normally you don’t see this stuff, and make them accept it. It was done in a cartoon like way because in reality they would never have been accepted at that time’.\n \n", "display_name": "Display caption", "publication_date": "2010-02-18T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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<a href="https://www.tate.org.uk/art/artists/gilbert-george-1163" aria-label="More by Gilbert & George" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Gilbert & George</a>

Family Tree

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

AR00175

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Gilbert & George

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Family Tree is from the series ‘New Democratic Pictures’. The democracy referred to is one in which each individual is free and encouraged to contribute to society. The change in society proposed by these images is one that is founded on spiritual intoxication and the capacity to dream. Family Tree depicts the artists as colossal figures on their hands and knees at the foot of a large tree. On their backs stand small, naked versions of themselves. They appear to be supporting the tree, nourishing existence at a fundamental level.Gallery label, February 2010

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Family Tree

1,991

ARTIST ROOMS Tate and National Galleries of Scotland

1991

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ARTIST ROOMS Tate and National Galleries of Scotland

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nFamily Tree is a photographic work by Gilbert & George. It depicts the artists, dressed in suits overlaid in bright purple and red, shown on their hands and knees at the base of a large, dark tree. Instead of fruit, the heads of young men, their faces overlaid in yellow, hang from the branches of the tree. On the artists’ backs miniature likenesses of the artists themselves stand naked, with legs spread. While the smaller Gilbert & George look at one another, the larger, clothed versions look out at the viewer, as do the heads hanging from the branches. The figures and heads appear in front of a blue background patterned by crisscrossing tree branches highlighted in white. The work consists of eighteen individually framed photographs arranged to produce a single image. The thin black frames form a three by six grid across the composition. The title and date of the work, in addition to the artists’ signatures, are printed in the bottom right panel.\nThe eighteen prints in Family Tree were developed using the gelatin silver process, which produces black and white images. The photographs were printed on resin-coated paper and later hand-coloured before being dry mounted on thin board and framed in black-painted aluminium frames with Perspex glazing. When exhibited, the framed works are hung on horizontal tracks.\nUntil 1977 Gilbert & George were the only figures depicted in their artworks. When they first began to photograph other people it was from a distance, often through the window of their home on Fournier Street in east London. In 1980, after several years of this covert image-taking, the artists begin to invite strangers to model for them. With the installation of professional photographic equipment in their home studio, the artists began to capture images of youths. In a 1991 interview with writer and broadcaster Daniel Farson, Gilbert explained the importance of photographing these young men from London’s East End:\n\n<blockquote>We want to create a reality that doesn’t exist in art, like the reality of young persons. Many people try to say that the young people in our pictures are all East End boot boys. Many journalists try to say that they’re thugs, hooligans, like the ones in the film A Clockwork Orange [1971] by Stanley Kubrick. But we don’t believe that. We are showing for the first time that a person like that is a total and fantastic being. (Gilbert in Daniel Farson, Gilbert & George: A Portrait, New York 1999, p.62.)</blockquote>\nThe disembodied heads in Family Tree may well be depictions of such East End boys – a group of people who were previously unrepresented in art. With the title’s allusion to family and the position of the artists at the root, they perhaps go further than this, taking on the role of father figures to these young men. This can also be seen in Existers 1984 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/gilbert-george-existers-ar00505\" title=\"View the details of this artwork\">AR00505</a>) in which Gilbert & George surround themselves with young men of varying ages. Art historian Marco Livingstone has argued that the artists have exclusively used male models in their work because the boys are ‘stand-ins for the artists themselves, which is one of the prime reasons that they never use females in their pictures’ (Marco Livingstone, ‘From the Heart’, in Tate Modern 2007, p.22). Livingstone observes that this exclusion has led to misconceptions that their art is misogynistic.\n\nFamily Tree was created as a part of the series New Democratic Pictures that was shown at the Anthony d’Offay Galleryin London in 1991. The exhibition shocked viewers as it was the first time Gilbert & George had showed themselves entirely naked (see also Faith Drop 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/gilbert-george-faith-drop-ar00176\" title=\"View the details of this artwork\">AR00176</a>). Critic David Sylvester’s observation that Gilbert & George were the first artists to show a body as ‘naked’ rather than as a classical ‘nude’ may help to explain why the series was so startling to audiences (see ‘Gilbert & George: Major Exhibition: Room Guide, Room 13’, Tate Modern, London, <a href=\"http://www.tate.org.uk/whats-on/tate-modern/exhibition/gilbert-george/gilbert-george-major-exhibition-room-guide/gilbert-11\">http://www.tate.org.uk/whats-on/tate-modern/exhibition/gilbert-george/gilbert-george-major-exhibition-room-guide/gilbert-11</a>, accessed 3 February 2016). The artists’ removal of their clothing could be seen as a continuation of their stated aim to present an honest account of their vision of life. In a 1981 interview with curator Mark Francis, Gilbert & George explained: ‘We don’t exclude anything, we like the whole. Sometimes we do represent disturbed times … If that is the case’ (‘Gilbert & George: An Interview with Mark Francis’, reproduced in Hans-Ulrich Obrist and Robert Violette (eds.), The Words of Gilbert & George, London 1997, p.115).\n\nFurther reading\n Jens Erik Sørensen and Anders Kold (eds.), Gilbert & George: New Democratic Pictures, exhibition catalogue, Aarhus Kunstmuseum, Aarhus 1992, reproduced p.51. \nGilbert & George: The Complete Pictures, 1971–2005, London 2007, reproduced p.782. \nGilbert & George: Major Exhibition, exhibition catalogue, Tate Modern, London 2007.\nDaisy Silver The University of Edinburgh March 2016\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n\n</div>\n", "display_name": "Summary", "publication_date": "2017-06-14T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "Family Tree is from the series ‘New Democratic Pictures’. The democracy referred to is one in which each individual is free and encouraged to contribute to society. The change in society proposed by these images is one that is founded on spiritual intoxication and the capacity to dream. Family Tree depicts the artists as colossal figures on their hands and knees at the foot of a large tree. On their backs stand small, naked versions of themselves. They appear to be supporting the tree, nourishing existence at a fundamental level.\n \n", "display_name": "Display caption", "publication_date": "2010-02-18T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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Faith Drop

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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

AR00176

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From the series ‘New Democratic Pictures’, Faith Drop is among the first works in which the artists depict themselves naked. They are shown devoutly on their knees, held aloft on the open palms of giant arms. Falling from the sky are oval-shaped pieces of ecclesiastical architecture, such as rose windows. They bear symbols which reflect many of the world’s religions. The soft pink and warm yellow colours lend the picture an idyllic quality.Gallery label, February 2010

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Faith Drop

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ARTIST ROOMS Tate and National Galleries of Scotland

1991

CLEARED

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frame (each): 846 × 711 × 23 mm displayed: 2538 × 3540 × 23 mm

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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\nFaith Drop is a photographic work by Gilbert & George consisting of fifteen individually framed photographic prints arranged to produce a single image. The frames create thin black lines that form a three by five grid across the composition. In Faith Drop the artists are depicted entirely naked, both kneeling on the upward-facing palms of two giant, outstretched hands that emerge from the left and right sides of the piece. On the left, George, coloured pink with beige genitalia, kneels with legs slightly spread, raising both hands to touch his right and left forefingers together and his right and left thumbs together. In the right of the scene, Gilbert, coloured beige with pink genitalia, kneels with his arms down at his sides. The colour of each giant hand corresponds to the colour of each artist’s genitalia. Surrounding the artists are various brightly coloured religious symbols, sculptures and examples of ecclesiastical architecture shown superimposed onto disk shapes, and these appear against a yellow-tinted, cloudy sky. The title and date of the work, in addition to the artists’ signatures, are printed in the bottom right panel.\nThe fifteen prints in Faith Drop were developed using the gelatin silver process, which produces black and white images. The photographs were printed on resin-coated paper and later hand-coloured before being dry mounted on thin board and framed in black-painted aluminium frames with Perspex glazing. When exhibited, the framed works are hung on horizontal tracks.\nIn Faith Drop Gilbert & George present themselves among recognisable faith symbols including rose windows, a Star of David and what may be a Satanic pentagram. The presence of these symbols leads to a reading of the artists’ kneeling poses in terms of religious rituals. During prayer or ceremony, most major faiths employ prostration, which is the arrangement of the body in a submissive position to show reverence. The stance of the artists perhaps refers to double genuflection (going down on both knees) in prayer, a characteristic position of worship in both the Christian and Muslim faiths. Additionally, the use of bright colours and the grid across the artwork together resemble the effects of stained-glass windows, imbuing the work with a devotional quality. Even without this religious interpretation, their poses are certainly submissive and express reverence to an unknown entity. In the pair’s 2000–4 conversations with art critic François Jonquet, George discusses their interest in faith: ‘Perhaps nostalgia for belief in eternal life features in these pictures. A faith that we’ve lost. We’re the first generation not to believe in eternal life.’ (George in François Jonquet, Gilbert & George: Intimate Conversations with François Jonquet, London 2004, p.156.) In this light, the title of the work, as well as the unnatural yellow tint of the sky that encircles the falling religious tokens, takes on a secular tone.\n\nFaith Drop was created as part of Gilbert & George’s series New Democratic Pictures that was exhibited at the Anthony d’Offay Gallery in London in 1991. Ten years previously, Gilbert & George first began including religious symbols in their work in pieces such as CRUSADE 1980 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/gilbert-george-crusade-ar00172\" title=\"View the details of this artwork\">AR00172</a>), which depicts three crosses formed by wooden chair backs. As religious themes became a recurring motif in the artists’ work, they were often accused of blasphemy. New Democratic Pictures is additionally shocking for its depiction of Gilbert & George entirely naked. Critic David Sylvester’s observation that Gilbert & George were the first artists to show a body ‘naked’ rather than as a classical ‘nude’ may explain why the series was so startling to audiences (see ‘Gilbert & George: Major Exhibition: Room Guide, Room 13’, Tate Modern, London, <a href=\"http://www.tate.org.uk/whats-on/tate-modern/exhibition/gilbert-george/gilbert-george-major-exhibition-room-guide/gilbert-11\">http://www.tate.org.uk/whats-on/tate-modern/exhibition/gilbert-george/gilbert-george-major-exhibition-room-guide/gilbert-11</a>, accessed 3 February 2016). Sylvester’s analysis corresponds well with art historian Kenneth Clark’s interpretation of nudity and nakedness in The Nude: A Study of Ideal Form, in which he asserts that: ‘To be naked is to be deprived of our clothes, and the word implies some of the embarrassment which most of us feel in that condition. The word nude, on the other hand, carries, in educated usage, no uncomfortable overtone’ (Kenneth Clark, The Nude: A Study of Ideal Art, London 1956, p.1). In light of Clark’s analysis and the religious tone of Faith Drop, the artists’ unclothed figures perhaps allude to Adam and Eve’s recognition of their own nakedness after eating fruit from the tree of knowledge. This reading is consistent with Gilbert & George’s own analysis of these works:\n\n<blockquote>When they discuss classical paintings or sculptures, they never say, there’s a naked Roman. It’s always a nude. And these are naked, and we believe there’s a very great difference. Naked isn’t physical, it’s more mental, more frightening. (Quoted in Tate Modern 2007, p.133.)</blockquote>\nDespite their intention to unsettle viewers, New Democratic Pictures is not intended to be pornographic. Art historian Lars Morell argues that viewing the series in this way is a modern tendency and suggests instead that Gilbert & George’s nakedness references ‘a cosmology which is related to medieval folk culture, and … demonstrates that their attitude towards the body is not modern but has much older roots’. (Morell quoted in Jens Erik Sørensen and Anders Kold (eds.), Gilbert & George: New Democratic Pictures, exhibition catalogue, Aarhus Kunstmuseum, Denmark 1992, pp.98–9.)\n\nFurther reading\n Carter Ratcliff, Gilbert & George: The Complete Pictures, 1971–1985, exhibition catalogue, CAPC Musée d’Art Contemporain de Bordeaux, Bordeaux 1986. \nGilbert & George: The Complete Pictures, 1971–2005, vol.2, London 2007, reproduced p.781. \nGilbert & George: Major Exhibition, exhibition catalogue, Tate Modern, London 2007, reproduced p.133.\nDaisy Silver The University of Edinburgh February 2016\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n\n</div>\n", "display_name": "Summary", "publication_date": "2017-07-07T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "From the series ‘New Democratic Pictures’, Faith Drop is among the first works in which the artists depict themselves naked. They are shown devoutly on their knees, held aloft on the open palms of giant arms. Falling from the sky are oval-shaped pieces of ecclesiastical architecture, such as rose windows. They bear symbols which reflect many of the world’s religions. The soft pink and warm yellow colours lend the picture an idyllic quality.\n \n \n", "display_name": "Display caption", "publication_date": "2010-02-18T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "actions: postures and motions", "adults", "architectural fragments", "architecture", "artist, multi-media", "arts and entertainment", "body", "Christianity", "emotions, concepts and ideas", "features", "formal qualities", "Gilbert & George", "hand", "Judaism", "kneeling", "landscape", "male", "man", "monuments", "named groups", "nudes", "people", "photographic", "portraits", "religion and belief", "religions", "self-portraits", "sky", "statue", "stonework", "universal religious imagery", "window", "work and occupations", "worship" ]

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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

AR00177

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Untitled #5 is a large abstract painting on canvas by the Canadian–American artist Agnes Martin, signed and inscribed by the artist on its verso. The square pictorial field is divided into eleven horizontal bands of white, blue and peach acrylic paint. The colours alternate in a regular pattern and the divisions are demarcated by wavering graphite pencil lines. As with all works from this period by Martin, Untitled #5 was begun by priming the entire surface of the canvas with an opaque coating of white acrylic gesso, which is never fully covered by subsequent layers of colour. This gives the painting a visual sparseness and vibrant luminosity; the thick white gesso sealing and emphasising the slightly toothy texture of the linen canvas support. On top of this base coat of paint the artist measured out and marked with pencil rectangular bands across the width of the canvas, into which she painted alternating duck-egg blue and pale peach ‘salmon-brick’ colours using a different type of acrylic, Liquitex, which gives a translucent and tempera-like finish. These same colours appear in the later paintings Faraway Love 1999 (Tate AR00178) and Happy Holiday 1999 (Tate AR00179), but in Untitled #5 they are applied with lighter, looser brush strokes and the Liquitex was diluted to produce almost gestural veils of colour. Within the composition’s repeating horizontals, the three bands left empty of colour are also the widest, at approximately one and a half times the width of the peach and blue bands. This irregularity reinforces the white gesso’s role as a blank background onto which colours and pencil marks have been inscribed. The painting was completed by further reinforcement of the pencil lines demarcating the striped surface of the canvas. By drawing on top of the acrylic paints, Martin reverses the traditional notion of drawing as preparatory work to be painted over. These strong, persistent horizontal lines are the final addition to the work, and are drawn so as not to reach the edge of the canvas, creating the impression that they are floating across the colour field. Explaining her drawing technique, the artist stated in an interview with the critic Joan Simon that:

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Untitled #5

1,994

ARTIST ROOMS Tate and National Galleries of Scotland

1994

CLEARED

6

support: 1525 × 1528 × 35 mm frame: 1562 × 1562 × 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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On top of this base coat of paint the artist measured out and marked with pencil rectangular bands across the width of the canvas, into which she painted alternating duck-egg blue and pale peach ‘salmon-brick’ colours using a different type of acrylic, Liquitex, which gives a translucent and tempera-like finish. These same colours appear in the later paintings Faraway Love 1999 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/martin-faraway-love-ar00178\" title=\"View the details of this artwork\">AR00178</a>) and Happy Holiday 1999 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/martin-happy-holiday-ar00179\" title=\"View the details of this artwork\">AR00179</a>), but in Untitled #5 they are applied with lighter, looser brush strokes and the Liquitex was diluted to produce almost gestural veils of colour. Within the composition’s repeating horizontals, the three bands left empty of colour are also the widest, at approximately one and a half times the width of the peach and blue bands. This irregularity reinforces the white gesso’s role as a blank background onto which colours and pencil marks have been inscribed. The painting was completed by further reinforcement of the pencil lines demarcating the striped surface of the canvas. By drawing on top of the acrylic paints, Martin reverses the traditional notion of drawing as preparatory work to be painted over. These strong, persistent horizontal lines are the final addition to the work, and are drawn so as not to reach the edge of the canvas, creating the impression that they are floating across the colour field. Explaining her drawing technique, the artist stated in an interview with the critic Joan Simon that: \n\n<blockquote>I use a small ruler, 18 inches long, and draft-draw across the canvas … because using a big ruler to draw a line clear across the canvas is impossible. The canvas goes back just a little, and the line’s not straight.’ </blockquote>\n<blockquote>(Simon 1996, p.84.) </blockquote>\nThis shuddering, incremental approach to delineation emphasises the centrality of drawing to Martin’s painting practice. The type of line produced by the artist is not rigidly straight; despite her use of a ruler it exhibits an undeniably hand-drawn quality. In its tracing of the bumps of the canvas surface, it echoes the looseness of the brush strokes of acrylic. As the art historian and curator Ned Rifkin has articulated of these works: ‘Geometry is an abstract system of order concerned with the relation between shapes. It is also an ideal. It refers to a perfection of form that does not actually exist within the natural world. In contrast, the rectangles Martin describes within the square format of her canvases are irregular and imperfect.’ (Rifkin 2002, pp.25–6.) \n\nUntitled #5 was first exhibited in 1995 at PaceWildenstein Gallery in New York. It is part of the first series of paintings the artist produced after moving from the remote area of Galisteo, New Mexico to a new studio and home in the town of Taos, where she remained until her death in 2004 at the age of ninety-two. This series of untitled paintings also introduced a new format into Martin’s work: five–foot square canvases, a reduction from her signature six–foot square stretchers, which the artist could no longer handle easily. Within the artist’s extremely spare and coherent painting vocabulary, Martin had employed the six–foot format since 1960, as the basis of all–over grid works such as Morning 1965 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/martin-morning-t01866\" title=\"View the details of this artwork\">T01866</a>). Ned Rifkin has remarked that ‘this seemingly slight change has introduced a new intimacy of scale and simultaneously opened her work to a decidedly more lyrical tone in colour and feeling.’ (Rifkin 2002, p.26.) \nIn contrast to other paintings by Martin in the ARTIST ROOMS collection, the series to which Untitled #5 belongs was left untitled and numbered sequentially. In subsequent years, the artist began using emotive and poetic phrases to title her works, such as Faraway Love and Happy Holiday, that are subtly evocative of her natural world–inspired titles from the 1960s, such as Leaf, Milk River and White Flower. Indeed, while the 1990s work remains resolutely abstract, the fundamental qualities of her chosen surroundings certainly impact upon paintings such as Untitled #5. In her prose poem of 1973 entitled ‘The Untroubled Mind’, the artist wrote: \n\n<blockquote>I saw the plains driving out of New Mexico and I thought</blockquote>\n<blockquote>the plain had it </blockquote>\n<blockquote>just the plane </blockquote>\n<blockquote>If you draw a diagonal, that’s loose at both ends</blockquote>\n<blockquote>I don’t like circles – too expanding</blockquote>\n<blockquote>When I draw horizontals</blockquote>\n<blockquote>you see this big plane and you have certain feelings like </blockquote>\n<blockquote>you’re expanding over the plane </blockquote>\n<blockquote>Anything can be painted without representation. </blockquote>\n<blockquote>(Quoted in Schwarz 1991, p.37.) </blockquote>\n\nFurther reading\n Dieter Schwarz (ed.), Agnes Martin: Writings/Schriften, Ostfildern 1991. Joan Simon, ‘Perfection is in the Mind: An Interview with Agnes Martin’, Art in America, vol.84, no.5, May 1996, pp.82–9, 124. Ned Rifkin, Agnes Martin: The Nineties and Beyond, exhibition catalogue, The Menil Collection, Houston 2002.\nStephanie Straine August 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": "Agnes Martin has described her paintings as being about “light, lightness, about merging, about formlessness'” The horizontal lines of delicate colour with pencil outlines seen in this painting are typical of Martin's work. The bands were painted vertically to allow the paint to run down the length of the stripe, and the paintings were turned horizontally when finished. Although the painting is a metre and a half square, the artist used an eighteen inch ruler to draw the pencil lines, moving it across the width of the painting. 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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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Martin used a short metal ruler and masking tape to create her lines. She applied the paint in vertical stripes, rotating the canvas by 90 degrees once the paint was dry. She explained that ‘you can’t put it on horizontally. It would drip down’. Despite her use of a ruler, the lines that Martin produced are not rigidly straight. They trace the texture of the linen canvas, creating an undeniably hand-drawn quality.Gallery label, June 2021

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painting acrylic paint graphite canvas

[ { "artistRoomsTour": true, "dateText": "6 August 2009 – 14 March 2010", "endDate": "2010-03-14", "exhibitionLegs": [ { "dateText": "6 August 2009 – 14 March 2010", "endDate": "2010-03-14", "id": 5119, "startDate": "2009-08-06", "venueName": "Scottish National Gallery of Modern Art (Edinburgh, UK)", "venueWebsiteUrl": "http://www.nationalgalleries.org/" } ], "id": 4294, "startDate": "2009-08-06", "title": "ARTIST ROOMS Agnes Martin", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "15 May 2010 – 11 July 2010", "endDate": "2010-07-11", "exhibitionLegs": [ { "dateText": "15 May 2010 – 11 July 2010", "endDate": "2010-07-11", "id": 5394, "startDate": "2010-05-15", "venueName": "Kettle’s Yard (Cambridge, UK)", "venueWebsiteUrl": "http://www.kettlesyard.co.uk/" } ], "id": 4521, "startDate": "2010-05-15", "title": "ARTIST ROOMS 2010: Agnes Martin", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "19 July 2010 – 13 March 2011", "endDate": "2011-03-13", "exhibitionLegs": [ { "dateText": "19 July 2010 – 13 March 2011", "endDate": "2011-03-13", "id": 5390, "startDate": "2010-07-19", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 4517, "startDate": "2010-07-19", "title": "Agnes Martin", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "14 May 2011 – 25 September 2011", "endDate": "2011-09-25", "exhibitionLegs": [ { "dateText": "14 May 2011 – 25 September 2011", "endDate": "2011-09-25", "id": 6311, "startDate": "2011-05-14", "venueName": "Tate St Ives (St Ives, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/stives/" } ], "id": 5134, "startDate": "2011-05-14", "title": "Summer 2011", "type": "Exhibition" }, { "artistRoomsTour": true, "dateText": "7 July 2018 – 7 October 2018", "endDate": "2018-10-07", "exhibitionLegs": [ { "dateText": "7 July 2018 – 7 October 2018", "endDate": "2018-10-07", "id": 12132, "startDate": "2018-07-07", "venueName": "The Arc, Winchester (Winchester, UK)", "venueWebsiteUrl": null } ], "id": 9988, "startDate": "2018-07-07", "title": "ARTIST ROOMS 2018: Agnes Martin", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "27 January 2020 – 25 July 2021", "endDate": "2021-07-25", "exhibitionLegs": [ { "dateText": "27 January 2020 – 25 July 2021", "endDate": "2021-07-25", "id": 13823, "startDate": "2020-01-27", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11417, "startDate": "2020-01-27", "title": "ARTIST ROOMS Agnes Martin", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "1 December 2021", "endDate": null, "exhibitionLegs": [ { "dateText": "6 December 2021", "endDate": null, "id": 14675, "startDate": "2021-12-06", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 12087, "startDate": "2021-12-01", "title": "ARTIST ROOMS Agnes Martin", "type": "Collection based display" } ]

Faraway Love

1,999

ARTIST ROOMS Tate and National Galleries of Scotland

1999

CLEARED

6

support: 1525 × 1525 × 35 mm frame: 1545 × 1545 × 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\nFaraway Love is a five-foot square, blue and white abstract painting on canvas by the Canadian–American artist Agnes Martin, signed and inscribed by the artist on its verso. The square pictorial field is divided into five thin horizontal bands of white background paint and four thick rectangular blocks of overpainted light blue acrylic, all of varying size, divided by wavering graphite pencil lines. As with all works from this period by Martin, Faraway Love was begun by priming the entire surface of the canvas with an opaque coating of white acrylic gesso, which is never fully covered by the subsequent layers of blue. This gives the painting an all-over visual sparseness and vibrant luminosity, the white gesso sealing and emphasising the slightly toothy texture of the linen canvas support. On top of this base coat of paint the artist measured out and marked with pencil the rectangular bands into which she painted the large blue segments, with rough brushstrokes and even some fingerprints visible, using a different type of acrylic, Liquitex, which gives a translucent and light-reflecting finish.\nThe painting was completed by further reinforcement of the pencil lines demarcating the surface of the canvas, drawn on top of the Liquitex (so that some of the blue escapes underneath the lines), in a reversal of the traditional notion of drawing as preparatory work to be painted over. These strong, persistently irregular horizontal lines are drawn so as not to reach the edge of the canvas, with the small gaps creating the impression that the lines are floating across the pale field. This shuddering, incremental approach to delineation emphasises the centrality of drawing to Martin’s painting. The type of line produced by the artist is not uniformly straight: despite her use of a ruler it exhibits an undeniably hand-drawn quality, tracing the bumps of the canvas surface. On the subject of her lines, Martin has commented: ‘I drew them just as perfectly as I could, I didn’t think at all about my hand, but in nature it is impossible to make a perfect line, so the lines have that lack of perfection. The composition carries it.’ (Quoted in Serpentine Gallery 1993, p.13.) This statement points towards the fundamental principle of Martin’s painterly approach, which reaches for flawlessness in the full knowledge that it is unachievable. One fragmentary note by the artist, published as part of her collected writings in 1991, articulates this concept clearly: ‘I hope I have made it clear that the work is about perfection as we are aware of it in our minds but that the paintings are very far from being perfect – completely removed in fact – even as we ourselves are.’ (Quoted in Schwarz 1991, p.15.)\n\nFaraway Love was produced in Martin’s final studio in Taos, New Mexico, to which she moved in 1994 from the more remote Galisteo. The first series of paintings produced in Taos, including Untitled #5 1994 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/martin-untitled-5-ar00177\" title=\"View the details of this artwork\">AR00177</a>), introduced the five-foot square format and the particular hue of sky blue acrylic seen in Faraway Love to the artist’s practice. The curator Michael Govan has analysed the various themes and undercurrents of Martin’s later work of the 1990s and early 2000s, writing: ‘Merging the classical abstract ideal of Platonic geometry with an empty, egoless Taoist meditation, Martin dematerializes the canvas into a transparent, non-hierarchical field of vision, perhaps suggesting the experience (rather than the image) of the landscape of the Southwest desert.’ (Govan, accessed 2 August 2010.)\n\nFaraway Love was first exhibited in 2000 at PaceWildenstein Gallery in New York, as part of a cycle of paintings with titles that reference states of love and happiness, including another work in ARTIST ROOMS, Happy Holiday 1999 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/martin-happy-holiday-ar00179\" title=\"View the details of this artwork\">AR00179</a>). This series reintroduced descriptive, evocative titling to the artist’s work, after the preceding group of untitled paintings, such as Untitled #5 1994 (Tate AR00177), which had similar compositions and colour schema. In her interviews, poetry and writings, the artist has often equated beauty and love with happiness, as an abstract concept not influenced by or reflective of her own personal life: ‘In my best moments I think “Life has passed me by” and I am content.’ (Quoted in Schwarz 1991, p.17.) This sentiment chimes with the title Faraway Love, which suggests something out of reach, perhaps even unattainable, which nevertheless remains a pure state, not tainted by melancholy or longing.\n\nFurther reading\n Dieter Schwarz (ed.), Agnes Martin: Writings/Schriften, Ostfildern 1991. Julia Peyton-Jones (ed.), Agnes Martin: Paintings and Drawings 1997–1991, exhibition catalogue, Serpentine Gallery, London 1993. Michael Govan, ‘Agnes Martin: Introduction’, Dia Art Foundation, <a href=\"http://www.diacenter.org/exhibitions/main/89\">http://www.diacenter.org/exhibitios/main/89</a>, accessed 2 August 2010.\nStephanie Straine August 2010\n</div>\n", "display_name": "Summary", "publication_date": "2014-02-10T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "After a long period of leaving her works untitled, Agnes Martin adopted an exuberant, even ecstatic tone when titling her later paintings. Here, vertical bands of light-coloured paint have been overpainted with white paint, while light and delicate pencil lines mark the edges of the bands. This contributes to the sense of the sublime that characterises Martin’s work. Both the spirituality and geometric aspects of her paintings draw comparisons with the work of Mondrian as well as the colour field paintings of Barnett Newman and Mark Rothko. All share, to some degree, a quest for ‘spiritual otherness.’\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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<a href="https://www.tate.org.uk/art/artists/agnes-martin-1583" aria-label="More by Agnes Martin" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Agnes Martin</a>

Happy Holiday

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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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Martin applied an opaque base coat of white acrylic gesso (or primer) to this work. The gesso was overlaid with stripes of diluted blue and peach acrylic paint. The layered application of materials creates a translucent and light-reflecting finish. The bands of colour don’t quite reach the edges of the canvas. The small gaps create the impression that the blue and peach washes are floating against the bright, white background.Gallery label, January 2020

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Happy Holiday

1,999

ARTIST ROOMS Tate and National Galleries of Scotland

1999

CLEARED

6

support: 1525 × 1525 × 40 mm frame: 1545 × 1545 × 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\nHappy Holiday is a five-foot square abstract painting on canvas by the Canadian–American artist Agnes Martin, signed and inscribed by the artist on its verso. The square pictorial field is divided into fourteen horizontal bands of equal width, alternating in colour between white and peach, with pale blue used for the top one and bottom two bands. This pattern of stripes is demarcated by wavering graphite pencil lines. As with all works from this period by Martin, Happy Holiday was begun by priming the entire surface of the canvas with an opaque coating of white acrylic gesso, which is never fully covered by subsequent layers of colour. This gives the painting an all-over visual sparseness and vibrant luminosity; the thick white gesso sealing and emphasising the slightly toothy texture of the linen canvas support. On top of this base coat of paint the artist measured out and marked with pencil and a short ruler the horizontal lines that span the width of the canvas. This shuddering, incremental approach to delineation emphasises the centrality of drawing to Martin’s painting. The type of line produced by the artist is not uniformly straight; despite her use of a ruler it exhibits an undeniably hand-drawn quality, tracing the bumps of the canvas surface. The art historian Briony Fer has noted of the artist’s practice: ‘It is striking that Martin does not draw a distinction between drawing and painting. On the contrary, she collapses it. The distinction instead is in her use of scale.’ (Fer 2006, p.176.) Certainly, the intimacy of the quavering pencil lines contrasts purposefully with the imposing size of the canvas.\n\nHappy Holiday was completed by the duck-egg blue and pale peach colours painted into nine of the bands using a different type of acrylic, Liquitex, which gives a translucent and light-reflecting finish. The coloured paint strays beyond the demarcation of the pencil lines, giving the work a gestural and hand-made feel when viewed at close range that subverts the geometric rigidity of the composition. Of the fourteen bands, only the top one and bottom two are filled with the light blue paint, while the other bands alternate between the peachy wash and the white gesso which originally primed the canvas surface. The bands of colour don’t quite reach the edges of the canvas: the small gaps create the impression that the blue and peach washes are floating against the field of bright, solid white. As the art historian and curator Ned Rifkin has observed of these works: ‘Geometry is an abstract system of order concerned with the relation between shapes. It is also an ideal. It refers to a perfection of form that does not actually exist within the natural world. In contrast, the rectangles Martin describes within the square format of her canvases are irregular and imperfect.’ (Rifkin 2002, pp.25–6.) \n\nHappy Holiday was first exhibited in 2000 at PaceWildenstein Gallery in New York, as part of a cycle of paintings with titles that reference states of love and happiness, including another work in ARTIST ROOMS, Faraway Love 1999 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/martin-faraway-love-ar00178\" title=\"View the details of this artwork\">AR00178</a>). This series reintroduced descriptive, evocative titling to the artist’s work, after the preceding group of untitled five-foot square paintings, such as Untitled #5 1994 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/martin-untitled-5-ar00177\" title=\"View the details of this artwork\">AR00177</a>), which had similar compositions and colour schema. Writing in 2002, Rifkin remarked of Martin’s work of the late 1990s that: \n\n<blockquote>She also has begun to title her paintings for the first time since 1967, the year she stopped painting, left New York City, and moved to Cuba, New Mexico … The resumption of titles echoes the later work’s shift in sensibility and surface … In the 1960s, Martin’s titles – for example, The Cliff, The Leaves, The Rose – alluded directly to the natural world. The titles of the past few years are exuberant, even ecstatic, in tone: Beautiful Life, Tranquillity, Happiness-Glee, I Love the Whole World … the newer titles evoke Martin’s embrace of sheer goodness, pervasive well-being, and a joyous sense of the sublime.</blockquote>\n<blockquote>(Rifkin 2002, p.27.) </blockquote>\nIn an interview with the art critic Irving Sandler in 1993, the artist made specific reference to this aspect of her painting, commenting: ‘I think that personal feelings, sentimentality and those sorts of emotions, are not art but that universal emotions like happiness are art. I am particularly interested in the abstract emotions that we feel when we listen to music.’ (Quoted in Serpentine Gallery 1993, p.12.) Happy Holiday’s title does allude to a temporary state of bliss, akin to experiencing a piece of music, which is inclusive and expansive in its non-specificity. \n\nFurther reading \n Julia Peyton-Jones (ed.), Agnes Martin: Paintings and Drawings 1997–1991, exhibition catalogue, Serpentine Gallery, London 1993. Ned Rifkin, Agnes Martin: The Nineties and Beyond, exhibition catalogue, The Menil Collection, Houston 2002. Briony Fer, ‘Drawing Drawing: Agnes Martin’s Infinity’ in Carol Armstrong and Catherine de Zegher (eds.), Women Artists at the Millennium, New Haven and London 2006, pp.168–87.\nStephanie Straine August 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": "Agnes Martin's spare, geometric compositions have drawn comparison with the work of Minimalist artists. However, Martin maintained that her paintings were concerned with the inner emotional world, searching for a perfection which was impossible to achieve, combined with the desire for contentment and serenity. The artist wrote that all her work, “is about perfection as we are aware of it in our minds but that the paintings are very far from being perfect – completely removed in fact – even as we ourselves are.” This is one of a series of paintings from the 1990s in which the artist used titles to evoke happy memories from the past.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "emotions and human qualities", "emotions, concepts and ideas", "formal qualities", "happiness", "memory", "purity", "repetition" ]

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<a href="https://www.tate.org.uk/art/artists/bruce-nauman-1691" aria-label="More by Bruce Nauman" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Bruce Nauman</a>

Enforced Perspective Allegory and Symbolism

2,009

[]

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

AR00180

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Bruce Nauman

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This work consists of thirty-six rhomboid-shaped steel slabs displayed on the floor in eight groupings: six sets of five and two sets of three. Although each slab weighs 105 kg, the two parallel sloping sides of each one slant at different angles to the others, ensuring that the slabs all vary slightly in shape. The pieces in the groupings of three are arranged corner to corner in a diagonal line while the groupings of five are made by placing four slabs around a central slab, sometimes edge to edge to create a cross shape, sometimes corner to corner to create a checkerboard pattern. The groups are equally spaced and always arranged so that the overall composition is as geometrically ordered as each group, although each set may be arranged in slightly different configurations when shown in different spaces. The slabs, which are brown with corrosion and have paint-spattered surfaces, rest on felt pads, which are not visible to the viewer. Nauman has stipulated that this piece must not be displayed behind barriers in order to encourage viewers to walk among the slabs.

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Enforced Perspective: Allegory and Symbolism

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ARTIST ROOMS Tate and National Galleries of Scotland

1975

CLEARED

8

unconfirmed, 36 parts, each: 102 × 356 × 356 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 work consists of thirty-six rhomboid-shaped steel slabs displayed on the floor in eight groupings: six sets of five and two sets of three. Although each slab weighs 105 kg, the two parallel sloping sides of each one slant at different angles to the others, ensuring that the slabs all vary slightly in shape. The pieces in the groupings of three are arranged corner to corner in a diagonal line while the groupings of five are made by placing four slabs around a central slab, sometimes edge to edge to create a cross shape, sometimes corner to corner to create a checkerboard pattern. The groups are equally spaced and always arranged so that the overall composition is as geometrically ordered as each group, although each set may be arranged in slightly different configurations when shown in different spaces. The slabs, which are brown with corrosion and have paint-spattered surfaces, rest on felt pads, which are not visible to the viewer. Nauman has stipulated that this piece must not be displayed behind barriers in order to encourage viewers to walk among the slabs.\n\nEnforced Perspective: Allegory and Symbolism was made by Bruce Nauman in 1975. Each slab was ‘torch cut’ from a larger steel block, a process that involves using a flame to heat the part of the metal to be cut. A blast of oxygen is then applied, which reacts with the metal, causing a further heating process that allows the metal to melt away from the cutting line. This process results in the slightly imperfect finish seen in the slabs: for instance, parallel lines appear on their surfaces that may be left over from the cutting process.\nNauman made a pencil study for this work, also in the ARTIST ROOMS collection (Untitled (Drawing for Enforced Perspective) 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/nauman-untitled-drawing-for-enforced-perspective-ar00578\" title=\"View the details of this artwork\">AR00578</a>), which shows Nauman’s process as he explored potential patterns and designed the configurations for the blocks. These designs suggest that although the various arrangements for this sculpture are changeable, they are not completely open-ended and are subject to a set of rules defined by the artist. According to critic Coosje van Bruggen, for this and other similar sculptures made in the mid-1970s, such as Consummate Mask of Rock 1975 (San Francisco Museum of Modern Art, San Francisco) and White Breathing 1975 (private collection), ‘the proportions of the room were used to determine the placement’ of the constituent parts (Coosje van Bruggen, Bruce Nauman, New York 1988, p.195). Van Bruggen adds that ‘these installations were built upon analogies to mathematics. However, the logical systems once again began to surface through the making of analogies between one system and another, through cheating along the way, and through mixing up the systems’ (van Bruggen 1988, p.195). Having studied mathematics as an undergraduate at the University of Wisconsin, Nauman frequently employs a systematic yet playful approach to his work, as is seen here. In this work Nauman uses a branch of mathematics known as combinatorics to allow him to work out the number of possible configurations within the structure of the sculpture.\nThe title of the work is a pun on the phrase ‘forced perspective’, which Nauman used as a title for other works he made in 1975: Forced Perspective I (Städtisches Museum Abteiberg, Mönchengladbach) and Forced Perspective II (Solomon R. Guggenheim Museum, New York). The term refers to the practice of using optical illusion to alter one’s perception of the scale and distance of objects. In his Forced Perspective works Nauman employed such optical illusions, using sculptural blocks of different sizes in order to distort the viewer’s sense of space. By using the title Enforced Perspective for the current work Nauman suggests, conversely, that the rules of perspective are set in stone, to be rigidly imposed. The steel slabs laid out across the floor serve as perspectival markers for the space in which they are displayed, as the ones closest to the viewer appear larger than those furthest away. However, the addition of the words Allegory and Symbolism to the title suggests further layers of meaning for the steel rhomboids beyond providing physical demarcations of space. While an allegory is a tale with a moral, symbolism refers to a form representing an abstract concept, allowing these steel slabs perhaps to be read as stand-ins for people or places and the relationships between them.\n\nFurther reading\n Joan Simon, Neal Benezra, Kathy Halbreich and others, Bruce Nauman, exhibition catalogue, Walker Art Center, Minneapolis 1994, reproduced p.266. Robert C. Morgan (ed.), Bruce Nauman, Baltimore and London 2002, pp.262–9.\nAriana Musiol The University of Edinburgh April 2013\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n</div>\n", "display_name": "Summary", "publication_date": "2017-05-19T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "Between 1975 and 1976, Nauman produced a series of sculptural installations consisting of carved stone and metal slabs placed around the floors of large rooms. In 'Enforced Perspective' steel rhomboids form a geometric design, creating the illusion of subtle shifts in the gallery floor as the viewer moves about them. Although the overall pattern that the visitor encounters appears relatively simple, the grouping of the thirty-six slabs has many possible arrangements. By creating a sculptural field that could be altered, this installation allowed Nauman to test the effects of different spaces on his audience’s behaviour.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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Souvenir de LIle des Saintes

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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

AR00181

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Cy Twombly

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Souvenir de L'Ile des Saintes 1979 is a richly coloured eight-part watercolour, pastel and gouache work on paper. The eight small cream sheets of rough watercolour paper are numerically sequenced, beginning with a hand-painted title page that bears the month and year of the work’s execution (December 1979) and the title, written in a loose, slanting script using purple-brown gouache. The individually-framed sheets of paper can either be installed in a single row format, or in a grid of two rows of four frames, with the title page at the top left of the grid. Souvenir de L’Ile des Saintes is a significant work in the artist’s oeuvre, as it marked Twombly’s first experiment with the medium of watercolour. Across the multi-sheet work, the artist combined translucent pools of pallid watercolour paint that spread across the paper, with scratchy pastel scrawls and daubs of thick gouache impasto. In many of the eight sheets, it is clear that the artist worked the wet media onto the paper surface directly with his fingers, as well as using paint brushes. The paper has buckled in places as a result of the excessive absorption of water.

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Souvenir de L’Ile des Saintes

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ARTIST ROOMS Tate and National Galleries of Scotland

1979

CLEARED

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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\nSouvenir de L'Ile des Saintes 1979 is a richly coloured eight-part watercolour, pastel and gouache work on paper. The eight small cream sheets of rough watercolour paper are numerically sequenced, beginning with a hand-painted title page that bears the month and year of the work’s execution (December 1979) and the title, written in a loose, slanting script using purple-brown gouache. The individually-framed sheets of paper can either be installed in a single row format, or in a grid of two rows of four frames, with the title page at the top left of the grid. Souvenir de L’Ile des Saintes is a significant work in the artist’s oeuvre, as it marked Twombly’s first experiment with the medium of watercolour. Across the multi-sheet work, the artist combined translucent pools of pallid watercolour paint that spread across the paper, with scratchy pastel scrawls and daubs of thick gouache impasto. In many of the eight sheets, it is clear that the artist worked the wet media onto the paper surface directly with his fingers, as well as using paint brushes. The paper has buckled in places as a result of the excessive absorption of water. \nTate curator Nicholas Cullinan notes in his chronology of the artist’s career that during winter 1979, ‘Twombly spends the months of December and January 1980 on the Caribbean island of Les Saintes, working on a series of watercolours’ (Cullinan in Serota 2008, p.245). Indeed, the title Souvenir de L’Ile des Saintes translates as ‘Memory of Saints’ Island’, a reference to the work’s place of production, a remote and sparsely-populated French territory of eight small islands, with a strong Breton influence. The islands are also known for their lush vegetation, which may have influenced the shapes and colours visible in the work itself, for example the bursts of bright red, green, blue and purple in sheet three. \n\nAcross the eight sheets of paper the artist brought together striking, gaudy, and at times even muddy, colour combinations – from the second sheet’s thick impasto dashes of white, green, brown and pink paint, to the loose clouds of white and pink gouache in sheets five, six and seven that almost fill the space of the paper, to the more delicate and spare application of rose-pink watercolour in the eighth and final sheet. While the overall appearance of Souvenir de L’Ile des Saintes is unquestionably painterly, there is also evidence of drawing, in the form of Twombly’s trademark looping, cursive line that appears in pastel in several of the sheets. The combination of calligraphic scrawl and gestural paint application is a hallmark of the artist’s practice from the early 1970s onwards, and can also be seen in works such as the four paintings collectively titled Quattro Stagioni (A Painting in Four Parts) 1993–5 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/twombly-quattro-stagioni-primavera-t07887\" title=\"View the details of this artwork\">T07887</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/twombly-quattro-stagioni-inverno-t07890\" title=\"View the details of this artwork\">T07890</a>). The presence of several paintbrush hairs in sheets four and seven is indicative of Twombly’s rough style of paint handling and speedy execution, which leaves no opportunity for correction or contemplation during the working process. \nSouvenir de L'Ile des Saintes is representative of a period of Twombly’s career characterised by an intense focus on the natural world – as demonstrated by the ten-part print suite in Tate’s collection, Natural History, Part I, Mushroom 1974 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/twombly-no-i-p07573\" title=\"View the details of this artwork\">P07573</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/twombly-no-x-p07582\" title=\"View the details of this artwork\">P07582</a>). This contrasts with periods before and after which focus thematically on antiquity, classicism, history and mythic personages, named in scrawled, scribbled writing and often accompanied by sexual graffiti. Indeed, Kirk Varnedoe has characterised Twombly’s work of the late 1970s and early 1980s as ‘pastoral’ (see Hochdörfer 2009, p.228), a term which aptly evokes the mood of bucolic abundance in Souvenir de L’Ile des Saintes.\nThe artist, reflecting upon the importance of particular landscapes, such as Les Saintes, to his work, commented: ‘I always went to the sea. Since I was a child we always spent summers at the sea … I’m not too sensitive about colour, not really. I don’t use it with any nuance, that I know of. It’s the object; the form of the thing is more interesting to me than colour. I’m not principally interested in colour.’ (Quoted in Serota 2008, p.52.) This suggests that for Twombly, the work’s gestural textures and billowing pools of paint upon the watercolour paper took precedence over the at times clashing array of colours in Souvenir de L’Ile des Saintes. \nPrior to his departure for the Caribbean in December, the year 1979 was highly significant for the scholarship directed towards the artist’s body of work, as the curator Achim Hochdörfer has detailed: ‘In May, he met French philosopher Roland Barthes in Paris, who this year published two of the most … individual essays on Twombly, in which his works are characterized, as, among other things, “clumsy” and “left-handed”.’ (Hochdörfer 2009, pp.306–8.) Barthes’s writings articulated, in poetic terms, that particular combination of slapdash haste, pulsating energy, and rejection of traditional skill through which Twombly produces work. Barthes also emphasised the importance of the surface ground to the painter’s marks, declaring: ‘No surface, no matter what the distance from which one looks at it, is truly virginal. A surface is always and already asper, discontinuous, uneven and rhythmed by accidents: there’s the grain of the paper, the smudges, the trelicings, the interlace of tracings, the diagrams, the words.’ (Barthes in del Roscio 2002, p.91.) This descriptive passage is particularly pertinent to the active surfaces of Souvenir de L’Ile des Saintes, which combine roughly handled and buckled paper, paintbrush hairs, finger-paint daubs, and the embrace of chance painterly effects.\n\nFurther reading \n Nicola del Roscio (ed.), Writings on Cy Twombly, Munich 2002. Nicholas Serota (ed.), Cy Twombly: Cycles and Seasons, exhibition catalogue, Tate Modern, London 2008. Achim Hochdörfer (ed.), Cy Twombly: States of Mind: Painting, Sculpture, Photography, Drawing, exhibition catalogue, Museum Moderner Kunst Stiftung Ludwig Wien, Vienna and Munich 2009. \nStephanie Straine December 2010\n</div>\n", "display_name": "Summary", "publication_date": "2012-07-17T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "'Souvenir de L’Île des Saintes' (Memory of the Islands of The Saints) is a suite of eight works on paper and represents the artist’s first experiments with watercolour. Twombly made the work at the end of 1979 while he was staying on the French Caribbean islands of Les Saintes. The title sheet reflects his interest in conflating the act of writing with the act of drawing. Here, the work’s date and title become part of the sequence of images. 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6 photographs, gelatin silver print on paper with oil paint

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Self Portrait Standing Three Times 1731991

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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

AR00182

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Gerhard Richter

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paper unique 6 photographs gelatin silver print oil paint

[ { "artistRoomsTour": true, "dateText": "28 August 2009 – 15 November 2009", "endDate": "2009-11-15", "exhibitionLegs": [ { "dateText": "28 August 2009 – 15 November 2009", "endDate": "2009-11-15", "id": 4918, "startDate": "2009-08-28", "venueName": "Middlesbrough Institute of Modern Art (Middlesbrough, UK)", "venueWebsiteUrl": "http://www.visitmima.com/" } ], "id": 4119, "startDate": "2009-08-28", "title": "Gerhard Richter: Modern Times", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "2 October 2010 – 27 February 2011", "endDate": "2011-02-27", "exhibitionLegs": [ { "dateText": "2 October 2010 – 27 February 2011", "endDate": "2011-02-27", "id": 5393, "startDate": "2010-10-02", "venueName": "New Walk Museum and Art Gallery (Leicester, UK)", "venueWebsiteUrl": "http://www.leicestermuseums.ac.uk" } ], "id": 4520, "startDate": "2010-10-02", "title": "ARTIST ROOMS 2010: Gerhard Richter", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "6 September 2014 – 6 December 2014", "endDate": "2014-12-06", "exhibitionLegs": [ { "dateText": "6 September 2014 – 6 December 2014", "endDate": "2014-12-06", "id": 8854, "startDate": "2014-09-06", "venueName": "Dick Institute (Kilmarnock, UK)", "venueWebsiteUrl": "http://www.east-ayrshire.gov.uk/comser/arts_museums/venues.asp" } ], "id": 7253, "startDate": "2014-09-06", "title": "ARTIST ROOMS 2014: Gerhard Richter", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "26 September 2015 – 16 January 2016", "endDate": "2016-01-16", "exhibitionLegs": [ { "dateText": "26 September 2015 – 16 January 2016", "endDate": "2016-01-16", "id": 9684, "startDate": "2015-09-26", "venueName": "The Box (Plymouth, UK)", "venueWebsiteUrl": null } ], "id": 7962, "startDate": "2015-09-26", "title": "ARTIST ROOMS 2015: Gerhard Richter", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "12 May 2018 – 18 August 2018", "endDate": "2018-08-18", "exhibitionLegs": [ { "dateText": "12 May 2018 – 18 August 2018", "endDate": "2018-08-18", "id": 11194, "startDate": "2018-05-12", "venueName": "John Hansard Gallery (Southampton, UK)", "venueWebsiteUrl": "http://www.soton.ac.uk/~hansard/" } ], "id": 9217, "startDate": "2018-05-12", "title": "ARTIST ROOMS 2017: Gerhard Richter", "type": "Loan-out" } ]

Self Portrait Standing, Three Times, 17.3.1991

1,991

ARTIST ROOMS Tate and National Galleries of Scotland

1991

CLEARED

5

support, each: 504 × 564 mm frame: 671 × 726 × 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

[ { "ajax_url": null, "canonical_url": null, "content": "As well as painting canvases based on photographic images since 1989, Richter has also painted actual photographs to create works. In doing so, he has emphasised the surface reality of the pain interacting with the forms in the photographs. In this serial work, Richter has used six identical prints of a photograph, which consists of a triple exposure of the artist standing in his studio. On each successive print, he applied more and more paint using a squeegee and a brush, so that the final work disappears completely, as does his studio. Only paint remains – perhaps representing the artist’s notorious unwillingness to reveal himself.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "adults", "defacement", "emotions, concepts and ideas", "formal qualities", "interiors", "man", "named individuals", "natural phenomena", "people", "photographic", "portraits", "reflection", "repetition", "Richter, Gerhard", "self-portraits", "studio", "workspaces" ]

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artwork

Painted plaster on painted wooden plinth

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3,548

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1,971

<a href="https://www.tate.org.uk/art/artists/gerhard-richter-1841" aria-label="More by Gerhard Richter" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Gerhard Richter</a>

Two Sculptures a Room by Palermo

2,009

[]

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

AR00183

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Gerhard Richter

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Two Sculptures for a Room by Palermo consists of two grey painted plaster busts on top of two wooden plinths also painted grey. Made of plaster of Paris the busts depict the head and neck of the artist Gerhard Richter, shown on the left in this photograph of the work, and his friend the German artist Blinky Palermo shown on the right. The pair are depicted with their eyes and mouths closed. The surfaces of both busts are uneven, with lines and marks visible in the plaster. Although the face of each artist is presented in exact likeness, the top and back of the heads contain less detail. Richter has signed each bust under the neck ‘Richter 1971’. The busts are mounted on pedestals of equal height: 174 cm, Richter’s own height. Visible brush strokes and uneven layers of paint are visible on each pedestal, making the paint colour appear varied.

false

1

https://media.tate.org.u…R/AR00183_10.jpg

1841

sculpture painted plaster wooden plinth

[ { "artistRoomsTour": true, "dateText": "28 August 2009 – 15 November 2009", "endDate": "2009-11-15", "exhibitionLegs": [ { "dateText": "28 August 2009 – 15 November 2009", "endDate": "2009-11-15", "id": 4918, "startDate": "2009-08-28", "venueName": "Middlesbrough Institute of Modern Art (Middlesbrough, UK)", "venueWebsiteUrl": "http://www.visitmima.com/" } ], "id": 4119, "startDate": "2009-08-28", "title": "Gerhard Richter: Modern Times", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "5 April 2013 – 2 July 2013", "endDate": "2013-07-02", "exhibitionLegs": [ { "dateText": "5 April 2013 – 2 July 2013", "endDate": "2013-07-02", "id": 8131, "startDate": "2013-04-05", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 6671, "startDate": "2013-04-05", "title": "ARTIST ROOMS Richter / Palermo", "type": "Collection based display" } ]

Two Sculptures for a Room by Palermo

1,971

ARTIST ROOMS Tate and National Galleries of Scotland

1971

CLEARED

8

object, each: 1758 × 200 × 257 mm 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

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nTwo Sculptures for a Room by Palermo consists of two grey painted plaster busts on top of two wooden plinths also painted grey. Made of plaster of Paris the busts depict the head and neck of the artist Gerhard Richter, shown on the left in this photograph of the work, and his friend the German artist Blinky Palermo shown on the right. The pair are depicted with their eyes and mouths closed. The surfaces of both busts are uneven, with lines and marks visible in the plaster. Although the face of each artist is presented in exact likeness, the top and back of the heads contain less detail. Richter has signed each bust under the neck ‘Richter 1971’. The busts are mounted on pedestals of equal height: 174 cm, Richter’s own height. Visible brush strokes and uneven layers of paint are visible on each pedestal, making the paint colour appear varied.\nThe sculptures were originally cast in 1971 and were intended for a room designed by Palermo at the Galerie Heiner Friedrich in Cologne. The original room was painted ochre yellow with an unpainted frame that measured, according to Richter, ‘about a hand’s width’ (quoted in Elger and Obrist 2009, p.453). Although Richter liked the room he felt that it was incomplete without the presence of sculpture. He subsequently produced Two Sculptures for a Room by Palermo to meet this need. Of the making of the plaster busts, Richter has said: ‘We made those ourselves. I made a plaster of Paris mask of his face, he helped me with mine, and I modelled the rest to fit – the head, the hair, the ears, the back of the head.’ (Quoted in Elger and Obrist 2009, p.453.) Initial sketches of the design of Two Sculptures for a Room by Palermo can be found on sheets 262 and 263 of Richter’s scrapbook, first published in 1972 under the title Atlas. After the initial exhibition Richter had a specialist cast them in bronze. Two bronze copies were made, one of which can be found at the Städtische Galerie im Lenbachhaus und Kunstbau in Munich as part of the museum’s permanent collection.\nThe two heads are figurative and life-sized, and as such could be seen as belonging to a sculptural portrait tradition that stretches back to Roman times. The traditional figurative approach of Two Sculptures for a Room by Palermo is similar to that of Richter’s series of photographs 48 Portraits 1971–98 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/richter-48-portraits-ar00025\" title=\"View the details of this artwork\">AR00025</a>), each of which shows the head of a different individual. However, Richter has resisted direct comparisons between the two works, claiming that neither he nor Palermo, as artists, ever considered themselves to be amongst the group of men portrayed in 48 Portraits (the subjects of which are white central European and North American males prominent in the fields of literature, science, philosophy, and music, but not visual art). Instead Richter has indicated that his use of the figurative, classical style was in opposition to the frivolousness of Pop Art, stating: ‘Maybe it was a polemic against the zeitgeist of egalitarianism, pluralism and this whole anti-aesthetic debate. Maybe we made those heads and lauded the classical in order to be polemical, against the time’. (Quoted in Elger and Obrist 2009, p.421.) The sculptures were completed specifically for the exhibition of Palermo’s ochre room and as a result restaging them within a museum setting has proved difficult. As the curator Mark Godfrey has noted, the work ‘demands a room of particular proportions’ (Godfrey 2011, p.13). The two sculptures are typically situated with the heads facing each other across the room. This particular arrangement allows the viewer to face each sculpture as if they were confronting the artists themselves.\nRichter was born in Dresden in 1932 and he began his studies at the State Art Academy in Düsseldorf in 1961, it was here that he met the German abstract painter Blinky Palermo who was born Peter Schwarze in Leipzig in 1943. During his time at the academy Schwarze chose the artist name ‘Blinky Palermo’ after the American Mafioso and boxing promoter Frank ‘Blinky’ Palermo. He and Richter became acquainted during a student exhibition in the spring of 1963, and the pair subsequently exhibited together twice. The first of these exhibitions was entitled Für Salvador Dalí, held at Galerie Ernst in Hanover (10 October to 6 November 1970). The second was held at the Galerie Heiner Friedrich in Cologne (21 April to 15 May 1971), where Two Sculptures for a Room by Palermo was first exhibited. Three paintings in Richter’s catalogue of works were completed in collaboration with Palermo: Finger-marks 1970 and two untitled works of 1971. Of their relationship Richter has said: ‘We didn’t have a competitive relationship because we were so different. I always acknowledged that he could create a certain stillness in his work – that was foreign to me’ (quoted in Elger and Obrist 2009, p.546).\n\nFurther reading\n Helmut Friedel and Ulrich Wilmes (eds.), Gerhard Richter: Atlas of the Photographs, Collages and Sketches, exhibition catalogue, Städtische Galerie im Lenbachhaus und Kunstbau, Munich 1997. Dietmar Elger and Hans Ulrich Obrist (eds.), Gerhard Richter: Text, Writings, Interviews and Letters, 1961–2007, London 2009, pp.421, 453, 546. Mark Godfrey and Nicholas Serota (eds.), Gerhard Richter: Panorama, exhibition catalogue, Tate Modern, London 2011, pp.10–13.\nColleen Carroll The University of Edinburgh February 2014\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n\n</div>\n", "display_name": "Summary", "publication_date": "2016-03-18T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "adults", "artist, multi-media", "artist, painter", "arts and entertainment", "body", "fine arts and music", "head / face", "individuals: male", "man", "named individuals", "objects", "Palermo, Blinky (Peter Heisterkamp)", "people", "plinth", "portraits", "Richter, Gerhard", "self-portraits", "work and occupations" ]

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13610 2793 118 93 80 615 20118 195 856 20114 16344 20116

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artwork

Acrylic paint on paper

[ { "append_role_to_name": false, "date": "born 1937", "fc": "Edward Ruscha", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/edward-ruscha-1882" } ]

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1,962

<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>

HONK

2,009

[]

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

AR00184

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Edward Ruscha

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HONK depicts its title word in diagonally-inclined, capitalised serif typography. The letters are filled in with a bright yellow acrylic paint and sit in front of a rich, dark blue background, trailing an area of deep red that is perpendicular to the yellow lettering, giving a suggestion of depth within the picture plane. The diagonal slant on which the word ‘HONK’ is aligned roughly slices the picture in half, from the top left to bottom right corner. This is a compositional device also used by the artist in Standard Study # 3 1963 (Tate AR00050). Ruscha studied graphic design at the Chouinard Art Institute (now California Institute of the Arts) in the late 1950s, and later worked as a layout artist at a Los Angeles advertising agency. In the same year that this drawing was made, Ruscha was included in the exhibition New Painting of Common Objects at Pasadena Art Museum, generally regarded as the first museum exhibition of pop art, alongside artists such as Andy Warhol (1928–87) and Roy Lichtenstein (1923–97).

false

1

https://media.tate.org.u…R/AR00184_10.jpg

1882

paper unique acrylic paint

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HONK

1,962

ARTIST ROOMS Tate and National Galleries of Scotland

1962

CLEARED

5

support: 279 × 352 mm frame: 455 × 630 × 31 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\nHONK depicts its title word in diagonally-inclined, capitalised serif typography. The letters are filled in with a bright yellow acrylic paint and sit in front of a rich, dark blue background, trailing an area of deep red that is perpendicular to the yellow lettering, giving a suggestion of depth within the picture plane. The diagonal slant on which the word ‘HONK’ is aligned roughly slices the picture in half, from the top left to bottom right corner. This is a compositional device also used by the artist in 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>). Ruscha studied graphic design at the Chouinard Art Institute (now California Institute of the Arts) in the late 1950s, and later worked as a layout artist at a Los Angeles advertising agency. In the same year that this drawing was made, Ruscha was included in the exhibition New Painting of Common Objects at Pasadena Art Museum, generally regarded as the first museum exhibition of pop art, alongside artists such as Andy Warhol (1928–87) and Roy Lichtenstein (1923–97).\nWith its palette restricted to the three primary colours, HONK is reminiscent of sign painting and graphic design in its bold clarity and legibility. However, unlike many of Ruscha’s other drawings of sentences, phrases or single words, 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>), here the text was not created with the use of stencils but was drawn freehand with acrylic paint and a brush, with no indication of prior measurement, templates or other technical aids. While the paint achieves an almost totally opaque coverage over the paper, brush marks are visible in the red and blue areas, and across the blue section some of the paper’s wove surface is visible, creating a slightly stippled, textured effect. These details remind the viewer that although the artist is working within a graphic idiom that is suggestive of advertising and film titles, the drawing remains a unique, hand-made object and not one of mass reproduction. \nThe diagonal composition and exclusive use of primary colours link this drawing to Ruscha’s series of works based on the Twentieth Century Fox studio logo, such as Trademark #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/ruscha-trademark-5-t07510\" title=\"View the details of this artwork\">T07510</a>). Both this work and HONK engage with the visual language of cinema, echoing the dramatic presentation of its iconography and movie titles to create works that combine pop art with Hollywood mythology. \nThe extreme edges of the area of red paint behind the ‘H’ and the ‘K’ of ‘HONK’ take the form of fiery curls and licks, suggesting a trail of cartoon flames that invest the word with an incendiary power to match the loudness of the colours and meaning of ‘honk’. The theatrical nature of this work is readily apparent in its punchy visual appearance and the onomatopoeic quality of the word itself. As the curator Ralph Rugoff has noted regarding a series of paintings ‘that depict burning architectural structures’ completed by the artist in the mid-1960s, ‘Ruscha seemed to use fire as a visual analogue for noise’ (Rugoff 2009, p.17). \nThe curator Kerry Brougher has quoted Ruscha regarding his use of words as subjects for his work: ‘“When you think about it, words are really horizontal objects. You’re almost making a landscape.” Ruscha’s words hover between the flat, traversal surfaces of the graphic artist and the longitudinal, deep-space world of landscape painting.’ (Brougher 2000, p.161.) HONK was completed only two years after Ruscha had graduated from art school. In an interview over twenty years later, the artist reflected upon this productive early period, commenting: \n\n<blockquote>I’ve noticed when I look back on my work that most of my early works had less of a fascination with the English language than they did with just trying to imitate monosyllabic words like ‘smash’, ‘oof’. They all were power words like that … I think that I could have been involved in painting an environment for what the word sounded like and looked like at the same time. </blockquote>\n<blockquote>(Ruscha and Schwartz 2002, p.191.) </blockquote>\n\nFurther reading \n Kerry Brougher, ‘Words as Landscape’ in Ed Ruscha, exhibition catalogue, Hirshhorn Museum and Sculpture Garden, Washington, D.C., and Museum of Modern Art, Oxford 2000, pp.157–77. Edward Ruscha and Alexandra Schwartz (eds.), Leave Any Information at the Signal: Writings, Interviews, Bits, Pages, Cambridge, Massachusetts and London 2002. Ralph Rugoff, ‘Heavenly Noises’, in Ed Ruscha: Fifty Years of Painting, exhibition catalogue, Hayward Gallery, London 2009, pp.11–27.\nStephanie Straine April 2010\n</div>\n", "display_name": "Summary", "publication_date": "2012-07-12T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "The sound and effects of a car horn are suggested through the composition and brash colours of the graphic letters which appear to come to a sudden halt on the page. Ruscha frequently used visual alliteration in this way to conjure up the words he chose to paint. ‘Honk’ suggests the artist’s fascination with cars and highways and the impact of these post-war consumer industries on cities and towns in the United States. The word is also of the type found in comic books used to bring to life the ongoing narrative.\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", "inscriptions", "non-representational", "symbols and personifications", "text", "title of work" ]

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39635 166 185 445 1986

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Patti Smith

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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

AR00185

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In this black and white portrait photograph the singer-songwriter Patti Smith is framed from her waist up and stands against a plain white background. She wears a loose white shirt which is roughly rolled up at the sleeves, with the top buttons undone. A thin chain hangs around her neck, the rest of which is tucked under her shirt, and a thin black band is worn on her right wrist. A black ribbon with a dulled shine and frayed ends is draped loosely around her neck. Smith tugs one end of the ribbon with her left hand, gripping it with two fingers. This introduces a diagonal to the composition that contrasts with the dark vertical line down the centre of the image where the ribbon falls from Smith’s neck in front of her body towards her waist. The singer’s right arm is raised and bent at the elbow. Her wrist bends delicately towards her face while her fingers form a loose fist. This raised arm causes the axis of her body to slope diagonally in the same direction as the ribbon she is holding. Smith looks directly at the camera. Her eyes are narrowed very slightly and her mouth is partially open. Her dark tousled hair frames her face and neck, while her fringe covers her forehead.

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Patti Smith

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ARTIST ROOMS Tate and National Galleries of Scotland

1975

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4

support: 341 × 341 mm frame: 613 × 587 × 38 mm

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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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Patti Smith

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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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In this black and white portrait photograph the singer-songwriter Patti Smith sits naked on a wooden floor in a crouched position, her legs folded so that her knees are tight against her chest while her hands grip the radiator pipes in front of her. Smith’s body is in profile facing towards a window above the pipes, but her head is turned towards the camera. Her short dark hair frames her face and is slightly tousled. She is positioned slightly off centre, sitting to the left of the image. She occupies what appears to be an empty room with painted white brick walls, wooden floors and a radiator which extends from where she is sitting to the adjacent wall in the background. A series of horizontal lines – including the radiator pipes, the flooring and the brick work – are contrasted by the vertical lines of the pipes rising from the radiator and the vertical wooden frame of the window. The singer’s limbs and torso mirror these vertical and horizontal lines, while also introducing some soft diagonals to the composition. Light comes in through the windows creating illuminated surfaces on the left side of her slim body, while casting shadows on the right side of her face, flanks and slightly hunched back.

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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": "1 March 2012 – 8 July 2012", "endDate": "2012-07-08", "exhibitionLegs": [ { "dateText": "1 March 2012 – 8 July 2012", "endDate": "2012-07-08", "id": 6907, "startDate": "2012-03-01", "venueName": "Burgh Hall (Dunoon, UK)", "venueWebsiteUrl": null } ], "id": 5631, "startDate": "2012-03-01", "title": "ARTIST ROOMS 2012: Mapplethorpe Scottish Tour", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "20 July 2012 – 28 October 2012", "endDate": "2012-10-28", "exhibitionLegs": [ { "dateText": "20 July 2012 – 28 October 2012", "endDate": "2012-10-28", "id": 6917, "startDate": "2012-07-20", "venueName": "Linlithgow Burgh Halls (Linlithgow, UK)", "venueWebsiteUrl": null } ], "id": 5639, "startDate": "2012-07-20", "title": "ARTIST ROOMS 2012: Mapplethorpe Scottish Tour", "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": 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": "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": "15 December 2018 – 23 March 2019", "endDate": "2019-03-23", "exhibitionLegs": [ { "dateText": "15 December 2018 – 23 March 2019", "endDate": "2019-03-23", "id": 12474, "startDate": "2018-12-15", "venueName": "Atkinson Art Gallery (Southport, UK)", "venueWebsiteUrl": null } ], "id": 10272, "startDate": "2018-12-15", "title": "ARTIST ROOMS 2018: Robert Mapplethorpe", "type": "Loan-out" } ]

Patti Smith

1,976

ARTIST ROOMS Tate and National Galleries of Scotland

1976

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

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nIn this black and white portrait photograph the singer-songwriter Patti Smith sits naked on a wooden floor in a crouched position, her legs folded so that her knees are tight against her chest while her hands grip the radiator pipes in front of her. Smith’s body is in profile facing towards a window above the pipes, but her head is turned towards the camera. Her short dark hair frames her face and is slightly tousled. She is positioned slightly off centre, sitting to the left of the image. She occupies what appears to be an empty room with painted white brick walls, wooden floors and a radiator which extends from where she is sitting to the adjacent wall in the background. A series of horizontal lines – including the radiator pipes, the flooring and the brick work – are contrasted by the vertical lines of the pipes rising from the radiator and the vertical wooden frame of the window. The singer’s limbs and torso mirror these vertical and horizontal lines, while also introducing some soft diagonals to the composition. Light comes in through the windows creating illuminated surfaces on the left side of her slim body, while casting shadows on the right side of her face, flanks and slightly hunched back.\nMapplethorpe took this photograph in autumn 1976 in his loft apartment on Bond Street, New York City. He had been given the money to buy this loft by art collector and curator Sam Wagstaff, who was Mapplethorpe’s lover and mentor until Wagstaff’s death in 1987. Bond Street was a cobblestone side street with warehouses and garages that artists chose to occupy. The painter Brice Marden worked next door to Mapplethorpe, and the musician John Lennon and artist Yoko Ono lived nearby. Smith, who was a lifelong friend of Mapplethorpe’s, moved in with the photographer in 1976 when the lease on her own apartment expired. The pair had lived together on many occasions including a stint at the Chelsea Hotel, a New York landmark famous for its notable residents, including the singers Leonard Cohen and Janis Joplin and the writer and poet Dylan Thomas.\nThis photograph is one of many portraits of Smith that Mapplethorpe took during their lifelong friendship (see also 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-patti-smith-ar00495\" title=\"View the details of this artwork\">AR00495</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/mapplethorpe-patti-smith-ar00185\" title=\"View the details of this artwork\">AR00185</a>). Indeed, apart from his self-portraits, Smith was Mapplethorpe’s most photographed subject. Writer Ingrid Sischy has discussed Mapplethorpe’s portraits of Smith: ‘Because these photographs capture different periods in her life they come to stand for time.’ (Sischy 1988, p.83.) Mapplethorpe’s biographer, Patricia Morrisroe, has confirmed this idea, noting that at the time this photograph was taken Smith was struggling to match the success of her first album Horses, and that she was unhappy in her relationship with musician Allen Lanier. Morrisroe states that in this particular portrait Smith resembles a ‘baby bird emerging from a cracked shell’, and that Mapplethorpe captured the singers ‘precarious state of mind’ (Morrisroe 1995, p.174).\n\nFurther reading\n Ingrid Sischy, ‘A Society Artist’ in Richard Marshall (ed.), Robert Mapplethorpe, London 1988, p.83. Patricia Morrisroe, Mapplethorpe, A Biography, London 1995, p.174.\nSusan Mc Ateer The University of Edinburgh February 2013\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n</div>\n", "display_name": "Summary", "publication_date": "2013-07-05T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "This is one of Mapplethorpe’s most carefully structured images. Patti Smith, the American singer-songwriter and Mapplethorpe had lived together in the late 1960s and remained close friends after they parted. In this photo Smith is posing nude in a hunched-up, seated position, so that her body becomes the centre of a network of vertical, horizontal and diagonal lines.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "actions: postures and motions", "adults", "architecture", "arts and entertainment", "crouching", "domestic", "features", "female", "heating and lighting", "individuals: female", "interior - non-specific", "interiors", "musician", "named individuals", "nudes", "objects", "people", "portraits", "radiator", "singer", "Smith, Patti", "window", "woman", "work and occupations" ]

null

false

92 118 726 41 17 519 85 20117 527 1617 98 20114 9342 2986 17799 529 167

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" } ]

3,552

[ { "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/robert-mapplethorpe-11413" aria-label="More by Robert Mapplethorpe" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Robert Mapplethorpe</a>

Patti Smith

2,009

[]

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

AR00187

{ "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/AR00187_10.jpg

11413

paper print photograph gelatin silver

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Patti Smith

1,976

ARTIST ROOMS Tate and National Galleries of Scotland

1976, printed 2005

CLEARED

4

support: 477 × 376 mm frame: 745 × 621 × 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": "Mapplethorpe rarely photographed anyone or anything in movement. Here the wind seems to have caught the cloth that Patti Smith has wrapped around herself. Otherwise the pose and composition are classically frontal and centralised. Mapplethorpe has used the row of headers in the brick wall and the narrow strip of ground to provide horizontal lines above and below the vertical figure of Smith to give stability to the composition.\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

92 118 88 17 20117 1617 9328 20114 1963 2986 17799 270 700 167

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" } ]

3,553

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1,980

<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>

Smutty

2,009

[]

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

AR00188

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

33008

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,980

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This black and white square-format portrait photograph features the English bass player Dennis Smith (nicknamed ‘Smutty’), a member of a Rockabilly band called Levi and the Rockats. Shirtless, he wears black trousers with a thin belt and is seated with his hands resting on his left leg. With his head facing to the left, he glances to his right, looking directly at the camera. He sports a version of the 1950s pompadour-style haircut, with a high quiff. His arms feature a variety of tattoos, including what appear to be a stag’s head on his lower left arm and a depiction of the cartoon character Micky Mouse on his lower right arm.

false

1

https://media.tate.org.u…R/AR00188_10.jpg

11413

paper print photograph gelatin silver

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Smutty

1,980

ARTIST ROOMS Tate and National Galleries of Scotland

1980

CLEARED

4

image: 341 × 341 mm frame: 611 × 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": "<div class=\"text\">\nThis black and white square-format portrait photograph features the English bass player Dennis Smith (nicknamed ‘Smutty’), a member of a Rockabilly band called Levi and the Rockats. Shirtless, he wears black trousers with a thin belt and is seated with his hands resting on his left leg. With his head facing to the left, he glances to his right, looking directly at the camera. He sports a version of the 1950s pompadour-style haircut, with a high quiff. His arms feature a variety of tattoos, including what appear to be a stag’s head on his lower left arm and a depiction of the cartoon character Micky Mouse on his lower right arm.\nThe photograph was taken in Mapplethorpe’s loft in Bond Street, Soho in 1980, when Smutty was twenty-one. The artist met Smutty through the New York nightclub scene, which they both frequented. The sitter commented on his experience of the photo shoot in an interview: ‘I guess he invited me to his loft, which was in Soho around Mercer Street. I remember going there alone and going into the apartment and noticing that it was kind of bare … flame torches … which looked like a Mexican jail … and a primitive jail type bed … I thought this guy’s cool ... He said that he was a photographer and would I like to see his work. I said yes and started looking through his portfolio’ (quoted in Pavlowski Green 2013). Having seen some of the artist’s more graphic sexual images in the portfolio, Smutty was concerned about what Mapplethorpe would ask of him during the shoot. However, the experience of being photographed was positive: ‘[Mapplethorpe] was so nice and polite, you could not help but love this man. He asked if we could set up a photo shoot and I said yes. We did the shoot and I was thinking what if he asked [sic] me to strip off, shall I? But he never did... It was a great shoot and we became very close friends.’ (Quoted in Pavlowski Green 2013.)\nIn the resulting photograph Smutty’s androgynous appearance and delicate pose contrast markedly with his tattooed skin and studded wristband; details which may suggest his own darker side as well as that of the rock-and-roll world which he inhabited. Nevertheless, his slightly startled gaze also conveys the vulnerability and uncertainty of youth. Following the photo shoot, Mapplethorpe photographed him on several further occasions, regularly featuring these photographs in his gallery shows. One of these subsequent works, Smutty 1982 (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-smutty-ar00189\" title=\"View the details of this artwork\">AR00189</a>), shows the bassist in a more confident pose, standing with his body in profile, leaning casually on his left arm against the wall with his right arm resting on his hip. Gone is the vulnerability evident in the earlier image; his head is turned to look directly at the camera in a posture commanding and almost inviting.\n\nFurther reading\n Patricia Morrisroe, Mapplethorpe: A Biography, London 1995. Julie Pavlowski Green, ‘Smutty Smith: One Kool Kat’, Patterns and Tones, April 2013, <a href=\"http://patternsandtones.blogspot.co.uk/2013/04/smutty-smith-one-kool-kat.html\">http://patternsandtones.blogspot.co.uk/2013/04/smutty-smith-one-kool-kat.html</a>, paragraphs 21–4, accessed 22 June 2014.\nMatthew Macaulay The University of Edinburgh June 2014\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n\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": "The nickname, tattoos, studded wristband and knowing look suggest that there is a darker side to this androgynous-looking young man. The placement of the arms and the contrapposto of the body and head are features common in Mannerist art, an area of art history that Mapplethorpe had a particular interest in.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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Photograph, gelatin silver print on paper

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1,982

<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>

Smutty

2,009

[]

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

AR00189

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Robert Mapplethorpe

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https://media.tate.org.u…R/AR00189_10.jpg

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paper print photograph gelatin silver

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Smutty

1,982

ARTIST ROOMS Tate and National Galleries of Scotland

1982

CLEARED

4

support: 470 × 375 mm frame: 744 × 621 × 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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false

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artwork

Photograph, gelatin silver print on paper

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3,555

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1,984

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Tattoo Artists Son

2,009

[]

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

AR00190

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7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,984

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1

https://media.tate.org.u…R/AR00190_10.jpg

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paper print photograph gelatin silver

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Tattoo Artist’s Son

1,984

ARTIST ROOMS Tate and National Galleries of Scotland

1984

CLEARED

4

support: 477 × 376 mm frame: 744 × 620 × 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

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artwork

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3,556

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Charles Tennant

2,009

[]

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

AR00191

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Robert Mapplethorpe

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false

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https://media.tate.org.u…R/AR00191_10.jpg

11413

paper print photograph gelatin silver

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Charles Tennant

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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false

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artwork

Photograph, gelatin silver print on paper

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Nick Marden

2,009

[]

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

AR00192

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

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,980

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https://media.tate.org.u…R/AR00192_10.jpg

11413

paper print photograph gelatin silver

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Nick Marden

1,980

ARTIST ROOMS Tate and National Galleries of Scotland

1980

CLEARED

4

support: 340 × 340 mm frame: 611 × 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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118 88 20118 760 195 1617 9328 20114

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artwork

Photograph, gelatin silver print on paper

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Snakeman

2,009

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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

AR00193

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7007567 1002551 7007568 7012149

Robert Mapplethorpe

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false

1

https://media.tate.org.u…R/AR00193_10.jpg

11413

paper print photograph gelatin silver

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Snakeman

1,981

ARTIST ROOMS Tate and National Galleries of Scotland

1981

CLEARED

4

support: 441 × 342 mm frame: 712 × 585 × 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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68 88 195 1977 9328 1408

false

artwork

Photograph, gelatin silver print on paper

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Derrick Cross

2,009

[]

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

AR00194

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Robert Mapplethorpe

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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": "1 March 2012 – 8 July 2012", "endDate": "2012-07-08", "exhibitionLegs": [ { "dateText": "1 March 2012 – 8 July 2012", "endDate": "2012-07-08", "id": 6907, "startDate": "2012-03-01", "venueName": "Burgh Hall (Dunoon, UK)", "venueWebsiteUrl": null } ], "id": 5631, "startDate": "2012-03-01", "title": "ARTIST ROOMS 2012: Mapplethorpe Scottish Tour", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "20 July 2012 – 28 October 2012", "endDate": "2012-10-28", "exhibitionLegs": [ { "dateText": "20 July 2012 – 28 October 2012", "endDate": "2012-10-28", "id": 6917, "startDate": "2012-07-20", "venueName": "Linlithgow Burgh Halls (Linlithgow, UK)", "venueWebsiteUrl": null } ], "id": 5639, "startDate": "2012-07-20", "title": "ARTIST ROOMS 2012: Mapplethorpe Scottish Tour", "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": 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": 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" }, { "artistRoomsTour": true, "dateText": "15 December 2018 – 23 March 2019", "endDate": "2019-03-23", "exhibitionLegs": [ { "dateText": "15 December 2018 – 23 March 2019", "endDate": "2019-03-23", "id": 12474, "startDate": "2018-12-15", "venueName": "Atkinson Art Gallery (Southport, UK)", "venueWebsiteUrl": null } ], "id": 10272, "startDate": "2018-12-15", "title": "ARTIST ROOMS 2018: Robert Mapplethorpe", "type": "Loan-out" } ]

Derrick Cross

1,983

ARTIST ROOMS Tate and National Galleries of Scotland

1983

CLEARED

4

unconfirmed: 508 × 406 mm frame: 750 × 620 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 one of many photographs in which Mapplethorpe focuses on a part of the body. The surrealist artist Man Ray had taken similar photographs of a torso, but had given greater emphasis to the face-like appearance of the body with nipples as eyes and navel as mouth. Mapplethorpe’s photograph is much more a study of muscular form. With the draped fabric around his waist, similarities can also be drawn with classical sculpture.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "adults", "arts and entertainment", "black", "body", "chest", "Cross, Derrick", "dancer", "emotions, concepts and ideas", "ethnicity", "formal qualities", "individuals: male", "male", "man", "muscle", "named individuals", "nudes", "people", "photographic", "portraits", "torso", "work and occupations" ]

null

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118 1325 93 17919 2988 179 20118 480 195 17684 98 9328 20114 1025

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" } ]

3,560

[ { "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" } ]

1,988

<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>

Eva Amurri

2,009

[]

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

AR00195

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

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,988

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This black and white photograph shows a young girl holding a stuffed toy rabbit. Set before a black background, the girl is smiling slightly. She is clothed in a dark dress with a white lace collar, and wears a black hat. Her hair is arranged in plaited pigtails with spotted ribbons at the end of each braid. Only her left hand is visible, and it is this hand that holds the toy rabbit. Her hand and face are bright – almost white – and stand in contrast to the black and dark grey shades that comprise the majority of the photograph. The subject of the image is Eva Amurri, the daughter of Italian film director Franco Amurri and the American actress Susan Sarandon.

false

1

https://media.tate.org.u…R/AR00195_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": "20 July 2012 – 28 October 2012", "endDate": "2012-10-28", "exhibitionLegs": [ { "dateText": "20 July 2012 – 28 October 2012", "endDate": "2012-10-28", "id": 6917, "startDate": "2012-07-20", "venueName": "Linlithgow Burgh Halls (Linlithgow, UK)", "venueWebsiteUrl": null } ], "id": 5639, "startDate": "2012-07-20", "title": "ARTIST ROOMS 2012: Mapplethorpe Scottish Tour", "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": 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" } ]

Eva Amurri

1,988

ARTIST ROOMS Tate and National Galleries of Scotland

1988

CLEARED

4

support: 476 × 471 mm frame: 816 × 784 × 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\">\nThis black and white photograph shows a young girl holding a stuffed toy rabbit. Set before a black background, the girl is smiling slightly. She is clothed in a dark dress with a white lace collar, and wears a black hat. Her hair is arranged in plaited pigtails with spotted ribbons at the end of each braid. Only her left hand is visible, and it is this hand that holds the toy rabbit. Her hand and face are bright – almost white – and stand in contrast to the black and dark grey shades that comprise the majority of the photograph. The subject of the image is Eva Amurri, the daughter of Italian film director Franco Amurri and the American actress Susan Sarandon.\nMapplethorpe made this portrait along with six others in 1988 to accompany an interview he gave for Vanity Fair. Around this time Mapplethorpe was receiving little publicity and was therefore looking for outlets for his work, as his biographer Patricia Morrisroe notes (Morrisroe 1995, p.351). He was also seriously ill with AIDS, which he had learned he had contracted in 1986. Morrisroe writes that Mapplethorpe ‘needed something to look forward to’ (Morrisroe 1995, p.351). The Vanity Fair article, entitled ‘Robert Mapplethorpe’s Long Good-Bye’, was published in January 1988, and the artist’s health, rather than his work, was very much the focus of the piece.\n\nEva Amurri shows its subject looking hopeful and happy. With her stuffed rabbit toy and joyful eyes, there is a sense of innocence in the sitter, highlighted by the contrast drawn between the heavy black of the dress and background and the sitter’s bright complexion. In contrast to the hopeful outlook of this photograph, the subject of death appears to have been prominent in Mapplethorpe’s mind at this time as his health deteriorated. In the same year he also made several photographs incorporating distinctly morbid motifs: Skull (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-skull-ar00223\" title=\"View the details of this artwork\">AR00223</a>) is a photograph of a human skull, while Self Portrait (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-self-portrait-ar00496\" title=\"View the details of this artwork\">AR00496</a>) shows Mapplethorpe holding a cane with a model skull fixed to its top. As stated by the art historian Germano Celant, ‘The portent of these photographs is chilling’ (Celant 1992, p.63). Yet, Celant continued, in these works Mapplethorpe ‘refuses to be affected by fear or weakness, he remains interested in the experience of this new transformation’ (Celant 1992, p.64). Eva Amurri is perhaps an extension of Mapplethorpe’s desire to examine the subject of death; it suggests a keenness to document the cycle of existence and to explore the beginning of life as well as its end.\nMapplethorpe took another photograph of Eva Amurri in 1988 in which the sitter appears nude (see Eva Amurri 1988, Solomon R. Guggenheim Museum, New York), as well as a photograph of Eva and her mother, also taken in 1988, entitled Eva Amurri and Susan Sarandon (reproduced in Joan Didion, Some Women: Robert Mapplethorpe, London 1989, p.61). His photographs Honey 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/mapplethorpe-honey-ar00157\" title=\"View the details of this artwork\">AR00157</a>) and Lindsay Key 1985 (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-lindsay-key-ar00158\" title=\"View the details of this artwork\">AR00158</a>) are further examples of work in which children feature as photographic subjects. In the same vein as Eva Amurri, many of these photographs portray their subjects with a vivacious, animated quality. These works stand in contrast to much of Mapplethorpe’s other photography – images such as Derrick Cross 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-derrick-cross-ar00194\" title=\"View the details of this artwork\">AR00194</a>) – in which the adult male form is depicted in an eroticised, sculptural manner.\n\nFurther reading\n Richard Marshall, Robert Mapplethorpe, London 1988. Germano Celant, Mapplethorpe, New York 1992, p.64. Patricia Morrisroe, Mapplethorpe: A Biography, London 1995, pp.351–62.\nThomas Flanagan The University of Edinburgh May 2015\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n\n</div>\n", "display_name": "Summary", "publication_date": "2017-05-22T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "This photograph is of Eva, the daughter of American actress Susan Sarandon. Although somberly dressed in black, clutching her toy rabbit, a delicate lace collar frames her face and she has a soft smile on her face, her eyes glistening. Although it was taken at a time when Robert Mapplethorpe was desperately ill from AIDS and had only a few months to live, it is an image of innocence and of bright hope for the future\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

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<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>

Brian Ridley and Lyle Heeter

2,009

[]

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

AR00196

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

33008

7007567 1002551 7007568 7012149

Robert Mapplethorpe

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In this black and white square-format double photographic portrait two leather-clad men, identified in the title as Brian Ridley and Lyle Heeter, are situated in a living room. The two men are positioned in the centre of the photograph. Ridley is seated in a leather wingback armchair, with chains attached to his ankles and wrists. He is shackled to Heeter, who stands to his left, resting his right elbow on the armchair and lightly grasping in his right hand the chain attached to the leather collar around Ridley’s neck. Both figures are wearing leather jackets, trousers and boots. Heeter is also wearing a leather cap, and holds in his left hand a riding crop which rests upon the armchair pointing down towards Ridley’s crotch. Ridley sits with his legs wide open and his hands resting in his lap, while Heeter stands casually above him with his right leg crossed in front of his left. Ridley and Heeter both fix the camera with intense stares. The room in which they are depicted has all the features of a conventional living room, including curtains, venetian blinds, an oriental carpet, an ornamental clock and a table lamp. The lamp, which is on, projects Heeter’s shadow onto the wall behind Ridley.

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Brian Ridley and Lyle Heeter

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

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nIn this black and white square-format double photographic portrait two leather-clad men, identified in the title as Brian Ridley and Lyle Heeter, are situated in a living room. The two men are positioned in the centre of the photograph. Ridley is seated in a leather wingback armchair, with chains attached to his ankles and wrists. He is shackled to Heeter, who stands to his left, resting his right elbow on the armchair and lightly grasping in his right hand the chain attached to the leather collar around Ridley’s neck. Both figures are wearing leather jackets, trousers and boots. Heeter is also wearing a leather cap, and holds in his left hand a riding crop which rests upon the armchair pointing down towards Ridley’s crotch. Ridley sits with his legs wide open and his hands resting in his lap, while Heeter stands casually above him with his right leg crossed in front of his left. Ridley and Heeter both fix the camera with intense stares. The room in which they are depicted has all the features of a conventional living room, including curtains, venetian blinds, an oriental carpet, an ornamental clock and a table lamp. The lamp, which is on, projects Heeter’s shadow onto the wall behind Ridley.\nThe apparent normality of the conventionally decorated living room contrasts strongly with the two imposing figures in their harsh leather clothing. The clothing identifies Ridley and Heeter with the gay S&M scene, a subculture which represented a type of behaviour as well as an adopted style or attitude, often associated with leather and bondage. A feature of the scene was erotic partnerships characterised by the dominance of one partner (often referred to as the ‘master’) and the submissiveness of the other (often referred to as the ‘slave’). In this photograph it is clear that Ridley is the ‘slave’ and that Heeter, with his crop, the ‘master’.\nThe artist was a sympathetic participant in sadomasochistic subculture. As Patti Smith, Mapplethorpe’s lifelong friend, records in her memoir: ‘Robert was not a voyeur. He always said that he had to be authentically involved with the work that came out of his S&M pursuit’ (Smith 2010, p.235). Through his photographs Mapplethorpe intended to bestow dignity and beauty upon a subject that was considered outside accepted norms of behaviour. In an interview with Dominick Dunne in Vanity Fair magazine, Mapplethorpe said: ‘most of the people in S&M were proud of what they were doing. It was giving pleasure to one another. It was not about hurting.’ (Quoted in Danto 1996, p.39.)\nThis work is one of a number of photographs made by Mapplethorpe to record the sadomasochistic subculture which fascinated him. Many of these works, such as Dominick and Elliot (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-dominick-and-elliot-ar00199\" title=\"View the details of this artwork\">AR00199</a>), were sexually explicit, depicting an array of sadomasochistic practices, from penis piercing to anal penetration with a bull-whip. Unlike Mapplethorpe’s other S&M works, Brian Ridley and Lyle Heeter is not sexually explicit. This photograph is also unusual for its humour deployed in the contrast between the couple’s sadomasochistic outfitting and their domestic interior.\nThe close relationship between the artist and his subjects might be inferred from the fact that the subjects have disclosed their names. This might also suggest that they trusted the artist to portray them with respect. As the American art critic Arthur C. Danto writes: ‘they could display their leather gear and shiny chains with pride. They trusted the artist not to make them look like fools, to show them as they would wish to be shown’ (Danto 1996, p.42).\n\nFurther reading\n Richard Meyer, ‘Imagining Sadomasochism: Robert Mapplethorpe and the Masquerade of Photography’, Qui Parle, vol.4, no.1, Autumn 1990, pp.62–78. Arthur C. Danto, Playing with the Edge: The Photographic Achievement of Robert Mapplethorpe, Berkeley and London 1996. Patti Smith, Just Kids, London 2010.\nMatthew Macaulay The University of Edinburgh June 2014\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n\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": "Humour is not something that we tend to associate with Mapplethorpe’s work, but this double portrait certainly has it. Unusually, Mapplethorpe has chosen to photograph these two men not in a neutral setting but in a cluttered environment of questionable taste. The implication is that this is where the men live. They are dressed in full black leather gear and the submissive seated partner is chained up and shackled to the bearded standing figure. The sado-masochistic ritual that is being enacted contrasts totally with the homey living room. The only pointer to darker currents is the table to the right made of deer antlers.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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Alan Lynes

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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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Alan Lynes

1,979

ARTIST ROOMS Tate and National Galleries of Scotland

1979

CLEARED

4

support: 341 × 341 mm frame: 612 × 588 × 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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Jim Sausalito

2,009

[]

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

AR00198

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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": 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": true, "dateText": "15 December 2018 – 23 March 2019", "endDate": "2019-03-23", "exhibitionLegs": [ { "dateText": "15 December 2018 – 23 March 2019", "endDate": "2019-03-23", "id": 12474, "startDate": "2018-12-15", "venueName": "Atkinson Art Gallery (Southport, UK)", "venueWebsiteUrl": null } ], "id": 10272, "startDate": "2018-12-15", "title": "ARTIST ROOMS 2018: Robert Mapplethorpe", "type": "Loan-out" } ]

Jim, Sausalito

1,977

ARTIST ROOMS Tate and National Galleries of Scotland

1977

CLEARED

4

support: 342 × 342 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

[ { "ajax_url": null, "canonical_url": null, "content": "Crouching in a dark bunker is ‘Jim’, clad in leather boots, trousers and mask – all typical of the gay S&M scene. The triangular shape formed by his body is bathed in light from above, as his gloved hands hold on to the rungs of a ladder which forms a grid of horizontals and verticals in the left half of the image. The man may look like the Beast in the Pit, but he seems attracted to the light above. Mapplethorpe, who was brought up a Catholic, was constantly drawn to the ambiguous relationships between light and dark, good and bad, heaven and hell. The figure and location appear again in ‘Jim and Tom, Sausalito (Piss Drinking)’. The figure’s gaze out of the frame suggests that perhaps he is not alone – a prelude to the scene in the other photograph.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "actions: postures and motions", "adults", "clothing and personal items", "crouching", "emotions, concepts and ideas", "formal qualities", "individuals: male", "interior - non specific", "interiors", "Jim", "ladder", "man", "mask", "named individuals", "natural phenomena", "objects", "people", "photographic", "portraits", "sadomasochism", "sex and relationships", "shadow", "society", "tools and machinery", "workspaces" ]

null

false

92 88 726 20118 17870 458 195 1977 70 9328 20114 12648 157 1810 86 46

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" } ]

3,564

[ { "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" } ]

1,979

<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>

Dominick and Elliot

2,009

[]

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

AR00199

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

33008

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,979

[]

This black and white photograph by Robert Mapplethorpe depicts a sadomasochistic scene between two men named Dominick and Elliot. The figures occupy a dark interior space, with black walls. Dominick, who is entirely naked except for the white underwear pulled down to his thighs, is strapped with leather bindings around his wrists and ankles, and is hoisted upside down in a cruciform position with his arms outstretched to the floor and his legs tied together pointing upwards. A thick chain is secured around his neck which trails up the length of his torso to his genitals. His stretched out body spans almost the entire vertical length of the picture in the centre of the composition. He stares straight at the camera while Elliot, who stands upright to the left of Dominick, loops his left arm through Dominick’s legs and grabs his testicles. In contrast to Dominick’s vulnerable and seemingly uncomfortable position, Elliot’s pose, with his legs planted wide, is faintly aggressive. He wears no shirt and the top buttons of his jeans are undone. In his right hand he holds a cigarette and draws attention to his own crotch while looking at the camera with an assured, intense stare.

false

1

https://media.tate.org.u…R/AR00199_10.jpg

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": "15 December 2018 – 23 March 2019", "endDate": "2019-03-23", "exhibitionLegs": [ { "dateText": "15 December 2018 – 23 March 2019", "endDate": "2019-03-23", "id": 12474, "startDate": "2018-12-15", "venueName": "Atkinson Art Gallery (Southport, UK)", "venueWebsiteUrl": null } ], "id": 10272, "startDate": "2018-12-15", "title": "ARTIST ROOMS 2018: Robert Mapplethorpe", "type": "Loan-out" } ]

Dominick and Elliot

1,979

ARTIST ROOMS Tate and National Galleries of Scotland

1979

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

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThis black and white photograph by Robert Mapplethorpe depicts a sadomasochistic scene between two men named Dominick and Elliot. The figures occupy a dark interior space, with black walls. Dominick, who is entirely naked except for the white underwear pulled down to his thighs, is strapped with leather bindings around his wrists and ankles, and is hoisted upside down in a cruciform position with his arms outstretched to the floor and his legs tied together pointing upwards. A thick chain is secured around his neck which trails up the length of his torso to his genitals. His stretched out body spans almost the entire vertical length of the picture in the centre of the composition. He stares straight at the camera while Elliot, who stands upright to the left of Dominick, loops his left arm through Dominick’s legs and grabs his testicles. In contrast to Dominick’s vulnerable and seemingly uncomfortable position, Elliot’s pose, with his legs planted wide, is faintly aggressive. He wears no shirt and the top buttons of his jeans are undone. In his right hand he holds a cigarette and draws attention to his own crotch while looking at the camera with an assured, intense stare.\nThis photograph was taken in 1979 at a time when Mapplethorpe was particularly interested in taking photographs of sadomasochistic sexual practices and the individuals who practised them. Mapplethorpe first met Elliot in 1976 through Jack Fritscher, who was editor of Drummer, a magazine for leather enthusiasts. Fritscher was impressed by Mapplethorpe’s photographs and was eager to elevate the status of the magazine by assigning him to take a picture of Elliot, a S&M call boy, for the magazine’s cover, which appeared on the front of issue number twenty-four that year. This led to Mapplethorpe gaining contacts and credibility in the ‘sex network’, which the photographer himself described as being ‘like any other kind of network’ (Mapplethorpe quoted in Morrisroe 1995, p.165). It was through Elliot that Mapplethorpe met Dominick and subsequently collaborated with both of them on this image.\nMapplethorpe was actively engaged in the S&M scene himself during the mid-to-late 1970s. He photographed sadomasochistic practices as an active participant, not simply as a voyeuristic observer, producing images that were deemed by some in the art world to be shocking. For example, the writer Ingrid Sischy described these images as ‘fearful’ and ‘intricately frightening’ (Ingrid Sischy ‘A Society Artist’, Robert Mapplethorpe, London 1991, p.84), while the critic and philosopher Arthur Danto believed that this particular image is one of Mapplethorpe’s most challenging photographs and that it ‘outdoes anything dreamed of by Mapplethorpe’ (Danto 1996, p.69). However these photographs were often seen as tame in S&M circles. Nick Biens, a S&M specialist who sat for Mapplethorpe (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/mapplethorpe-nick-ar00159\" title=\"View the details of this artwork\">AR00159</a>), referred to Mapplethorpe’s images as being an ‘artsified version of S&M. They’re not like photographs snapped during an actual scene’ (Biens cited in Morrisroe 1995, p.191).\nArt historian Richard Meyer has commented on how staged Mapplethorpe’s S&M photographs are. Rather than being presented with an image of sexual engagement, Dominick and Elliot features two figures formally arranged, presenting their erotic positions and equipment. As Meyer remarks: ‘Rather then enact a pretense of photographic transparency, the couple insist upon the artifice of their pose, challenging our spectatorial power to see and freeze them by signifying their agency in allowing a prepared, patently limited view of their sadomasochistic “image”.’ (Meyer 1989, p.72.)\n\nFurther reading\n Richard Meyer, ‘Imaging Sadomasochism: Robert Mapplethorpe and the Masquerade of Photography’, Qui Parle, vol.4, no.1, Fall 1990, pp.62–78. Patricia Morrisroe, Mapplethorpe. A Biography, London 1995. Arthur Coleman Danto, Playing With The Edge: The Photographic Achievement of Robert Mapplethorpe, Berkeley and London 1996.\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": "This image of a ritualised, sado-masochistic, torture scene has strong art historical and Catholic overtones. A common image in medieval and renaissance painting was the martyrdom of St Peter, who was crucified upside-down (at his own bidding, because he did not wish to be compared with Christ). Mapplethorpe was well aware of the continuing influence that his Catholic upbringing had upon him and his art. As Paul Schmidt wrote in his introduction to Mapplethorpe’s notorious ‘X Portfolio’: ‘In a secular age, these images are all we have left. Here are the images of our modern martyrdom: our Scourgings, our Crownings with Thorns, our Crucifixions.’\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[]

null

false

92 12394 3631 147 6730 3527 20118 480 195 287 98 9328 20114 52 12648 157 10663 2800 5375 86 10217

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" } ]

3,565

[ { "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" } ]

1,982

<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>

Cock and Devil

2,009

[]

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

AR00200

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

33008

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,982

[]

false

1

https://media.tate.org.u…R/AR00200_10.jpg

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" } ]

Cock and Devil

1,982

ARTIST ROOMS Tate and National Galleries of Scotland

1982, printed 1990

CLEARED

4

support: 371 × 472 mm frame: 644 × 720 × 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": "This humorous image plays around with the Christian (and more specifically Catholic) notion of sin and the attitude towards the libido that held sway in ancient Greece and Rome. In the ancient world, satyrs (half-men, half-goats) were Dionysus’s (Bacchus’s) attendants and, as such, were given over to lechery and drink. This was seen as an essential part of life, the dionysian reality behind the apollonian mask. However, with Christianity, the satyr was turned into the Devil - the representative of all that was evil, including lust. In this photograph the satyr/Devil has bound the penis (symbol of male sexuality) and brought it under his control.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[]

null

false

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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" } ]

3,566

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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>

Clothespinned Mouth

2,009

[]

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

AR00201

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

33008

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,978

[ { "archiveItemCount": 413, "id": 177, "level": 2, "name": "actions: expressive", "parent_id": 91, "workCount": 2209 }, { "archiveItemCount": 0, "id": 95, "level": 2, "name": "adults", "parent_id": 91, "workCount": 20120 }, { "archiveItemCount": 10, "id": 2033, "level": 3, "name": "attacking", "parent_id": 177, "workCount": 155 }, { "archiveItemCount": 1628, "id": 93, "level": 2, "name": "body", "parent_id": 91, "workCount": 3250 }, { "archiveItemCount": 0, "id": 17867, "level": 3, "name": "clothes peg", "parent_id": 83, "workCount": 3 }, { "archiveItemCount": 823, "id": 178, "level": 2, "name": "diseases and conditions", "parent_id": 91, "workCount": 664 }, { "archiveItemCount": 98, "id": 83, "level": 2, "name": "domestic", "parent_id": 78, "workCount": 316 }, { "archiveItemCount": 168, "id": 153, "level": 2, "name": "dress: fantasy/fancy", "parent_id": 145, "workCount": 338 }, { "archiveItemCount": 5302, "id": 29, "level": 1, "name": "emotions, concepts and ideas", "parent_id": 1, "workCount": 11114 }, { "archiveItemCount": 40, "id": 6460, "level": 3, "name": "fancy dress / role play", "parent_id": 153, "workCount": 142 }, { "archiveItemCount": 3599, "id": 6729, "level": 2, "name": "formal qualities", "parent_id": 29, "workCount": 8855 }, { "archiveItemCount": 300, "id": 1079, "level": 3, "name": "hand", "parent_id": 93, "workCount": 302 }, { "archiveItemCount": 625, "id": 615, "level": 3, "name": "head / face", "parent_id": 93, "workCount": 1872 }, { "archiveItemCount": 1455, "id": 195, "level": 3, "name": "man", "parent_id": 95, "workCount": 8998 }, { "archiveItemCount": 169, "id": 757, "level": 3, "name": "mouth", "parent_id": 93, "workCount": 69 }, { "archiveItemCount": 1, "id": 13039, "level": 3, "name": "mutilated", "parent_id": 178, "workCount": 39 }, { "archiveItemCount": 9924, "id": 78, "level": 1, "name": "objects", "parent_id": 1, "workCount": 13647 }, { "archiveItemCount": 58, "id": 12874, "level": 3, "name": "pain", "parent_id": 178, "workCount": 37 }, { "archiveItemCount": 0, "id": 91, "level": 1, "name": "people", "parent_id": 1, "workCount": 22072 }, { "archiveItemCount": 122, "id": 9328, "level": 3, "name": "photographic", "parent_id": 6729, "workCount": 4551 }, { "archiveItemCount": 3, "id": 12648, "level": 3, "name": "sadomasochism", "parent_id": 157, "workCount": 6 }, { "archiveItemCount": 0, "id": 157, "level": 2, "name": "sex and relationships", "parent_id": 145, "workCount": 833 }, { "archiveItemCount": 0, "id": 145, "level": 1, "name": "society", "parent_id": 1, "workCount": 15153 } ]

false

1

https://media.tate.org.u…R/AR00201_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": 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" } ]

Clothespinned Mouth

1,978

ARTIST ROOMS Tate and National Galleries of Scotland

1978

CLEARED

4

support: 340 × 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

[ { "ajax_url": null, "canonical_url": null, "content": "If it were not for the title, it would be difficult to work out what is going on in this photograph. The use of close-ups that defamiliarise us with the body, as well as the photographing of sado-masochistic fetishes and clothes had been part of the surrealist photographers’ practice. The collar around the figure’s neck and the leather cuffs just visible, allude to the S&M scene of the 1970s that Mapplethorpe was involved in. The clothes-pegs in this photograph are reminiscent of the Crown of Thorns. Mapplethorpe’s strict Catholic upbringing made itself felt in many of his works.\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

177 2033 93 17867 178 83 153 6460 1079 615 195 757 13039 12874 9328 12648 157

false

artwork

Photograph, gelatin silver print on paper

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3,567

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1,985

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Meredith Monk

2,009

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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

AR00202

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Robert Mapplethorpe

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https://media.tate.org.u…R/AR00202_10.jpg

11413

paper print photograph gelatin silver

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Meredith Monk

1,985

ARTIST ROOMS Tate and National Galleries of Scotland

1985

CLEARED

4

support: 372 × 374 mm frame: 645 × 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

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1,980

<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>

Diane Benson

2,009

[]

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

AR00203

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7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,980

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Diane Benson

1,980

ARTIST ROOMS Tate and National Galleries of Scotland

1980

CLEARED

4

support: 340 × 341 mm frame: 612 × 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

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false

artwork

Photograph, gelatin silver print on paper

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3,569

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1,976

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Marianne Faithfull

2,009

[]

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

AR00204

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7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,976

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false

1

https://media.tate.org.u…R/AR00204_10.jpg

11413

paper print photograph gelatin silver

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Marianne Faithfull

1,976

ARTIST ROOMS Tate and National Galleries of Scotland

1976, printed 2003

CLEARED

4

support: 342 × 341 mm frame: 612 × 589 × 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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false

artwork

Photograph, gelatin silver print on paper

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Katherine Cebrian

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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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Robert Mapplethorpe

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In this black and white portrait photograph the socialite Katherine Cebrian sits in profile on an embroidered chair in front of a window, her left arm resting on her leg, her right arm stretched along the top of the seat as she gazes in front of her towards the left-hand edge of the picture. She is dressed in a black flowing caftan with her hair wrapped in a glittering black turban. A large necklace of gold and coral hangs around her neck and onto her chest, and a serpent bracelet is coiled around her wrist on her right arm. A thin vertical section of wall behind the chair indicates that the photograph was taken indoors, although either side of this wall are windows that reveal a leafy landscape beyond. Cebrian’s head is entirely framed by one of the windows so that her pale skin contrasts against the darker foliage outside.

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paper print photograph gelatin silver

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Katherine Cebrian

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ARTIST ROOMS Tate and National Galleries of Scotland

1980

CLEARED

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support: 341 × 340 mm frame: 613 × 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

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nIn this black and white portrait photograph the socialite Katherine Cebrian sits in profile on an embroidered chair in front of a window, her left arm resting on her leg, her right arm stretched along the top of the seat as she gazes in front of her towards the left-hand edge of the picture. She is dressed in a black flowing caftan with her hair wrapped in a glittering black turban. A large necklace of gold and coral hangs around her neck and onto her chest, and a serpent bracelet is coiled around her wrist on her right arm. A thin vertical section of wall behind the chair indicates that the photograph was taken indoors, although either side of this wall are windows that reveal a leafy landscape beyond. Cebrian’s head is entirely framed by one of the windows so that her pale skin contrasts against the darker foliage outside.\nRobert Mapplethorpe took this portrait of Cebrian in her San Francisco home. He was introduced to the socialite by Edward de Celle, the owner of a gallery in San Francisco where Mapplethorpe had an exhibition at the time. De Celle, who referred to Cebrian as ‘San Francisco royalty’ (cited in Morrisroe 1995, p.240), arranged for Mapplethorpe to take Cebrian’s portrait, but was nervous about the photographer dressing and behaving inappropriately as Cebrian ‘abhorred bad manners’ (Morrisroe 1995, p.240). To de Celle’s horror Mapplethorpe wore his customary black leather outfit and a belt that spelled out the word ‘SHIT’. Although de Celle was anxious, according to Morrisroe, ‘Mapplethorpe worked his quiet charms on the elderly woman ... and continued talking softly to her while he set up his tripod in the sitting room’ (Morrisroe 1995, p.241). Cebrian enjoyed the session and immediately invited Mapplethorpe to attend the Convent of the Sacred Heart benefit for which she was dressed. To Cebrian’s surprise the photographer escorted her to the benefit dressed as he was, although this did not prevent her from introducing him to her friends and other members of San Francisco high society.\nPortraiture forms a significant part of Mapplethorpe’s oeuvre. His biographer Patricia Morrisroe discusses the methods he used when taking portraits, noting that he usually began with a profile shot as he found it to be the most natural. From this profile position he would ‘rotate the head to locate the most becoming pose’ (Morrisroe 1995, p.241). Mapplethorpe clearly considered the profile shot in this case to be most fitting, as it emphasised Cebrian’s distinctive nose, which, according to Morrisroe, alludes to ‘nobility and power’ (Morrisroe 1995, p.241). The writer Peter Conrad has also noted the regal aspect of this portrait, referring to the faces of monarchs found on coins and postage stamps which transform the individual into a ‘symbol of value’. Moreover, a prominent nose, Conrad has argued, stands for ‘Roman-ness, and thus for empire’ (Conrad 1988, p.11).\nDe Celle explained that Cebrian was frequently approached for portraits, but that she usually turned offers down. According to the gallery owner, the success of this portrait was due to Mapplethorpe’s personable nature: ‘He was such an excellent observer, and he showed more interest in other people than anyone I’ve ever met. That’s what made his pictures so good, and why so many different people responded to him.’ (De Celle cited in Morrisroe 1995, p.141.)\n\nFurther reading\n Peter Conrad, ‘Twelve Facets of Mapplethorpe’, in Mapplethorpe Portraits: Photographs by Robert Mapplethorpe 1975–87, exhibition catalogue, National Portrait Gallery, London 1988, pp.9–21. Patricia Morrisroe, Mapplethorpe. A Biography, London 1995.\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": "Katherine Cebrian was one of the ‘grandes dames’ of San Francisco society, who famously said: “I don’t even butter my bread. I consider that cooking.” When Mapplethorpe was in town for the opening of a show at a private gallery, its owner arranged for Mapplethorpe to photograph her. He turned up at her house wearing a black leather outfit and a studded belt, spelling out the word ‘SHIT’. De Celle recollected: “I held my breath, but then Mapplethorpe worked his quiet charms on the elderly woman…talking softly to her while he set up his tripod in the sitting room. Mapplethorpe placed her in a window seat, with her face in profile.”\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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Grace Jones

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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

AR00206

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Robert Mapplethorpe

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Grace Jones

1,984

ARTIST ROOMS Tate and National Galleries of Scotland

1984

CLEARED

4

support: 374 × 375 mm frame: 645 × 621 × 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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Keith Haring

2,009

[]

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

AR00207

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7007567 1002551 7007568 7012149

Robert Mapplethorpe

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false

1

https://media.tate.org.u…R/AR00207_10.jpg

11413

paper print photograph gelatin silver

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Keith Haring

1,984

ARTIST ROOMS Tate and National Galleries of Scotland

1984

CLEARED

4

support: 374 × 375 mm frame: 645 × 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

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artwork

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3,573

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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>

Molissa Fenley

2,009

[]

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

AR00208

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Robert Mapplethorpe

1,983

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false

1

https://media.tate.org.u…R/AR00208_10.jpg

11413

paper print photograph gelatin silver

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Molissa Fenley

1,983

ARTIST ROOMS Tate and National Galleries of Scotland

1983

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

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false

artwork

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3,574

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1,975

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John McKendry

2,009

[]

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

AR00209

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

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,975

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This is a black and white portrait photograph of John McKendry, a former curator of prints and photographs at the Metropolitan Museum of Art in New York. Only half of McKendry’s face is actually visible, the other half having been cropped out of the picture. The visible half of his face occupies almost the entire length of the right-hand edge of the print; his chin points towards the lower corner while his tousled hair rises up to the top corner. His skin is slathered in moisturiser creating an oily sheen, while his mouth is slightly open and his eye looks upwards. Directly behind McKendry’s head is a white wall. To the top left of the image are two metal plug sockets, one of which has a cord plugged into it. The cord hangs down towards the bottom edge of the picture creating a vertical line that parallels the vertical cropping of the curator’s face.

false

1

https://media.tate.org.u…R/AR00209_10.jpg

11413

paper print photograph gelatin silver

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John McKendry

1,975

ARTIST ROOMS Tate and National Galleries of Scotland

1975, printed 1992

CLEARED

4

support: 341 × 341 mm frame: 611 × 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

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThis is a black and white portrait photograph of John McKendry, a former curator of prints and photographs at the Metropolitan Museum of Art in New York. Only half of McKendry’s face is actually visible, the other half having been cropped out of the picture. The visible half of his face occupies almost the entire length of the right-hand edge of the print; his chin points towards the lower corner while his tousled hair rises up to the top corner. His skin is slathered in moisturiser creating an oily sheen, while his mouth is slightly open and his eye looks upwards. Directly behind McKendry’s head is a white wall. To the top left of the image are two metal plug sockets, one of which has a cord plugged into it. The cord hangs down towards the bottom edge of the picture creating a vertical line that parallels the vertical cropping of the curator’s face.\nThis photograph was taken by Robert Mapplethorpe at St Clare’s hospital, New York, the day before McKendry died of complications relating to liver disease, from which he suffered due to excessive drinking and drug taking throughout his life. McKendry had asked Mapplethorpe to visit him in the hospital and to bring his camera with him. When Mapplethorpe arrived with singer Patti Smith, a lifelong friend of the photographer, McKendry was applying Royal Jelly moisturiser to his face. After he had finished he looked up at Mapplethorpe and told him, ‘I’m ready for my picture now’ (cited in Morrisroe 1995, p.152). For ten minutes Mapplethorpe took various shots while the curator’s attention drifted. According to Mapplethorpe’s biographer Patricia Morrisroe, the photographer was greatly affected by the intensity of photographing a dying man and left quickly.\nMapplethorpe first met McKendry in 1971 when he attended a dinner party thrown by McKendry and his wife, Maxime de la Falaise, a prominent figure in New York’s high society. McKendry and Mapplethorpe immediately became friends, with the former acting as a mentor and patron to the emerging photographer. Mapplethorpe was greatly inspired by McKendry, who granted him access to the vaults of the Metropolitan Museum where the photography collection was housed. It was from these visits that Mapplethorpe began to consider photography as an artistic medium: ‘Looking at those photographs made me think photography maybe could be art. I had never thought about that before, but now I found myself getting excited about the possibilities.’ (Mapplethorpe quoted in Morrisroe 1995, p.108.)\nMapplethorpe photographed McKendry on another occasion in 1971, when the curator invited Mapplethorpe to accompany him on a trip to Britain. The photographer took a shot of McKendry in a bathtub at the Welsh home of Alexis de la Falaise, McKendry’s stepson. The curator’s wife was livid when she received word of this photograph as McKendry had an inappropriate fascination with her son Alexis, and she was furious that he had taken Mapplethorpe to the house while her son and his family were there. McKendry was also fascinated with Mapplethorpe, although the love he had for the photographer was unrequited and contributed to the curator’s extreme mood swings. As Patti Smith recalled, it was not only the curator’s longing for Mapplethorpe that triggered moments of depression but a deep self-loathing which led to his eventual self-destruction (Smith 2010, p.191).\nThis photograph is one of Mapplethorpe’s most uncharacteristic portraits. Morrisroe has noted that the photographer usually preferred to keep a distance between himself and his subject, but that this was ‘impossible when confronting the searing image of a dying man’ (Morrisroe 1995, p.152). The extreme cropping poignantly evokes the imminence of McKendry’s death as though he is slipping away, while the socket on the wall more directly points to his hospitalisation and imbues the image with a sense that the plug is about to be pulled on his life. This somber undertone was palpable to the curator’s wife who was ‘shattered’ by the image: ‘When I saw the photograph I realised how wrong I had been. John was dying, and Robert had captured him in his tiny room, in his little corner of Hell.’ (Maxime de la Falaise cited in Morrisroe 1995, p.153.)\n\nFurther reading\n Patrcia 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": "Born in Canada, John McKendry was a curator of prints and photographs at the Metropolitan Museum of Art in New York. It was through McKendry that Mapplethorpe was exposed to photography in a new light and began to consider it as an art form of its own standing. However, McKendry was an alcoholic and this photograph of him was taken in hospital the day before he died, his face slathered in royal jelly moisturiser. Mapplethorpe’s brilliant cropping concentrates our attention on his discriminating eye, for which he was famous, and on the single electrical cord hanging from the socket. Mapplethorpe knew that he didn’t have long to live.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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Iggy Pop

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This black and white photograph is a portrait of Iggy Pop, the American musician and actor often referred to as the ‘Godfather of Punk’. The tight cropping of the photograph ensures only Pop’s head and bare shoulders are visible against a plain grey background. Pop faces the camera with wide open eyes and an apparently gasping mouth revealing his crooked lower teeth. His short, dark, tousled hair frames his face and neck.

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Iggy Pop

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William Burroughs

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William Burroughs

1,980

ARTIST ROOMS Tate and National Galleries of Scotland

1980

CLEARED

4

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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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Truman Capote

2,009

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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

AR00212

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Truman Capote

1,981

ARTIST ROOMS Tate and National Galleries of Scotland

1981

CLEARED

4

image: 374 × 373 mm frame: 645 × 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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Arnold Schwarzenegger

2,009

[]

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

AR00213

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Robert Mapplethorpe

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In this full-length black and white portrait photograph, the Austrian bodybuilder Arnold Schwarzenegger is shown semi-nude, performing a body-building pose in the artist’s studio. He is positioned to the right of the picture frame with his left hand clamped over his right wrist, allowing him to flex the muscles of his upper body. Schwarzenegger’s weight is placed on his left leg, which is relatively relaxed, while the right side of his body is tensed to the extent that his right foot almost leaves the wooden floor on which he stands. The right side of his body is tilted slightly towards the viewer, emphasising the musculature of his right bicep, thigh and calf muscles. Schwarzenegger poses in front of a blank white wall to the left of a large paisley-patterned curtain, which balances the composition. He gazes directly at the viewer with a serious, slightly blank expression.

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1

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Arnold Schwarzenegger

1,976

ARTIST ROOMS Tate and National Galleries of Scotland

1976, printed 2005

CLEARED

4

support: 341 × 341 mm frame: 613 × 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": "<div class=\"text\">\nIn this full-length black and white portrait photograph, the Austrian bodybuilder Arnold Schwarzenegger is shown semi-nude, performing a body-building pose in the artist’s studio. He is positioned to the right of the picture frame with his left hand clamped over his right wrist, allowing him to flex the muscles of his upper body. Schwarzenegger’s weight is placed on his left leg, which is relatively relaxed, while the right side of his body is tensed to the extent that his right foot almost leaves the wooden floor on which he stands. The right side of his body is tilted slightly towards the viewer, emphasising the musculature of his right bicep, thigh and calf muscles. Schwarzenegger poses in front of a blank white wall to the left of a large paisley-patterned curtain, which balances the composition. He gazes directly at the viewer with a serious, slightly blank expression.\nThis is one of several photographs taken by Mapplethorpe in 1976 in which Schwarzenegger is shown in the same setting performing various body-building poses (another example from this series is reproduced in Arthur C. Danto, Mapplethorpe, London 1992, p.74). Schwarzenegger had emigrated to America from Austria in 1968 and won a variety of professional men’s body-building contests, including five Mr Universe titles and seven Mr Olympia titles. This photograph was taken towards the end of his professional body-building career, shortly before he retired to dedicate himself to acting. By positioning the bodybuilder within a studio setting next to a large curtain, Mapplethorpe makes reference, possibly ironically, to the nineteenth-century Western artistic tradition of representing the nude. In this tradition, the idealised male or female body was depicted either partially clothed or naked, often with drapery similar to that of the curtain in Mapplethorpe’s photograph. As the critic Allen Ellenzweig writes: ‘[Schwarzenegger is posed] beside a fully curved drapery typical of decorative backdrops in the nude and still-life studies of the previous century.’ (Ellenzweig 1992, p.138.)\nMapplethorpe’s depiction of Schwarzenegger can be seen as both a ‘homage and a parody’, as Ellenzweig notes (Ellenzweig 1992, p.138). Moreover, as the curator Christopher Bedford has argued, the homosexual artist has transformed a ‘heterosexual male athlete into an object of his desire’ (Bedford 2010, accessed 9 March 2014). Mapplethorpe encourages the viewer to admire Schwarzenegger’s self-created musculature and bodily excess. But he also seems to poke gentle fun at it by using the heavy curtain to mimic the dramatic curvature of the athlete’s oversized body.\n\nFurther reading\n Allen Ellenzweig, The Homoerotic Photograph: Male Images from Durieu/Delacroix to Mapplethorpe, New York 1992, p.138. Patricia Morrisroe, Mapplethorpe: A Biography, London 1995, pp.178, 193. Christopher Bedford, ‘Hard Targets’, Los Angeles County Museum of Art, <a href=\"http://www.lacma.org/essay-christopher-bedford\">http://www.lacma.org/essay-christopher-bedford</a>, paragraph 2, accessed 9 March 2014.\nMatthew Macaulay University of Edinburgh March 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 bodybuilder and budding actor, Arnold Schwarzenegger poses in a space rendered theatrical by a curtain that cuts the image at the top into two halves. The curve of the curtain to the left is echoed in Schwarzenegger’s pose – his extended right leg and curved right arm. It shows Mapplethorpe’s interest in the classical tradition with Schwarzenegger’s exceptionally muscular physique reminiscent of Michelangelo’s figures in the Sistine Chapel.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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Philip Glass and Robert Wilson

2,009

[]

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

AR00214

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Robert Mapplethorpe

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1

https://media.tate.org.u…R/AR00214_10.jpg

11413

paper print photograph gelatin silver

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Philip Glass and Robert Wilson

1,976

ARTIST ROOMS Tate and National Galleries of Scotland

1976

CLEARED

4

support: 341 × 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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Louise Bourgeois

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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

AR00215

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Robert Mapplethorpe

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In this black and white portrait photograph the French-American artist Louise Bourgeois (1911–2010) stands slightly to the right of the frame against a plain grey background. She is shown from her waist up with her body in three quarter profile, and her face turned towards the camera. She wears a dark, tufted monkey fur coat and has one of her sculptures tucked under her right arm, holding it in place with her right hand. This phallic shaped sculpture, Fillette, which translates as ‘little girl’ in French, is a plaster work covered in latex made fourteen years earlier. Bourgeois smiles somewhat mischievously at the camera.

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Louise Bourgeois

1,982

ARTIST ROOMS Tate and National Galleries of Scotland

1982, printed 1991

CLEARED

4

support: 375 × 374 mm frame: 645 × 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

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nIn this black and white portrait photograph the French-American artist Louise Bourgeois (1911–2010) stands slightly to the right of the frame against a plain grey background. She is shown from her waist up with her body in three quarter profile, and her face turned towards the camera. She wears a dark, tufted monkey fur coat and has one of her sculptures tucked under her right arm, holding it in place with her right hand. This phallic shaped sculpture, Fillette, which translates as ‘little girl’ in French, is a plaster work covered in latex made fourteen years earlier. Bourgeois smiles somewhat mischievously at the camera.\nThis photograph was taken by Mapplethorpe at his studio on Bond Street, New York, in 1982. His biographer Patricia Morrisroe notes that he was not an intrusive photographer and if his sitters used props it was normally their own decision or idea, which was the case with this image. Bourgeois was convinced that the shoot was going to be a disaster, so she prepared for it: ‘I could not imagine what would go wrong but I knew that everything would go wrong if I was not prepared. So even though I travel light, I did take a piece of mine.’ (Cited in Arena: Robert Mapplethorpe, 18 March 1988.) She chose to take Fillette as she knew that she would get ‘comfort from holding and rocking the piece’ (cited in Nixon 2005, p.80). Mapplethorpe described this shoot and Bourgeois herself as surreal: ‘you couldn’t, sort of tell her too much, she was just there.’ (Cited in Arena: Robert Mapplethorpe, 18 March 1988.)\nLouise Bourgeois worked as an artist from the 1930s until her death in 2010. Like Robert Mapplethorpe, Bourgeois often made art that was sexually explicit. She identified the connection between Mapplethorpe and herself: ‘I thought that it was a good collaboration because he is famous, not for his flower pictures, he is famous for his objectionable, sexual representation ... he is famous as a controversial artist and this photograph fitted in his album.’ (Cited in Arena: Robert Mapplethorpe, 18 March 1988.)\nThe intention of this shoot with Mapplethorpe was to produce a portrait for the catalogue of Bourgeois’s retrospective exhibition at the Museum of Modern Art, New York, in 1982. The museum used the portrait for the catalogue’s cover, but cropped it to a head shot, eliminating Fillette. This selective cropping stripped the image of its erotic humour and as the artist herself stated: ‘The glint in the eye refers to the thing I’m carrying. But they cut it. They cut it because the museum was so prudish.’ (Cited in Nixon 2005, p.73.) Art historian Mignon Nixon notes how Mapplethorpe’s photographic style enhances the image, through the ‘pristine limpidity’ of the print and by ‘delicately picking out the rhyme of flesh within the frame of an image bristling with transgressive humour’ (Nixon 2005, p.73).\n\nFurther reading\n \nArena: Robert Mapplethorpe, dir. by Nigel Finch, BBC television documentary, 18 March 1988. Patricia Morrisroe, Mapplethorpe. A Biography, London 1995. Mignon Nixon, Fantastic Reality: Louise Bourgeois and a Story of Modern Art, Cambridge, Massachusetts 2005, pp.71–81.\nSusan Mc Ateer The University of Edinburgh February 2013\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n</div>\n", "display_name": "Summary", "publication_date": "2013-07-05T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "Louise Bourgeois is a French-born, American artist, who began making surrealist-inspired paintings and prints, but turned to sculpture in the late 1940s. Her sculptures, often but not always abstract, have strong allusions to the human body and especially to human sexuality. In this photograph she is carrying one of her own works, a phallic-shaped sculpture that her right hand is holding in a suggestive manner. Her smile is very knowing.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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Robert Rauschenberg

2,009

[]

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

AR00216

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Robert Mapplethorpe

1,983

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false

1

https://media.tate.org.u…R/AR00216_10.jpg

11413

paper print photograph gelatin silver

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Robert Rauschenberg

1,983

ARTIST ROOMS Tate and National Galleries of Scotland

1983

CLEARED

4

support: 477 × 377 mm frame: 744 × 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

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false

artwork

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3,582

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1,985

<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>

Roy Lichtenstein

2,009

[]

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

AR00217

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

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,985

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false

1

https://media.tate.org.u…R/AR00217_10.jpg

11413

paper print photograph gelatin silver

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Roy Lichtenstein

1,985

ARTIST ROOMS Tate and National Galleries of Scotland

1985, printed 1990

CLEARED

4

unconfirmed: 610 × 508 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 93 615 20118 195 9328 20114

false

artwork

Photograph, gelatin silver print on paper

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3,583

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1,982

<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>

Lawrence Weiner

2,009

[]

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

AR00218

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

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,982

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false

1

https://media.tate.org.u…R/AR00218_10.jpg

11413

paper print photograph gelatin silver

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Lawrence Weiner

1,982

ARTIST ROOMS Tate and National Galleries of Scotland

1982, printed 1991

CLEARED

4

support: 375 × 375 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

13610 118 1402 93 88 20118 195 9328 20114 202 40702 11203

false

artwork

Photograph, gelatin silver print on paper

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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>

Andy Warhol

2,009

[]

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

AR00219

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7007567 1002551 7007568 7012149

Robert Mapplethorpe

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The artist Andy Warhol is pictured from his shoulders up in this black and white portrait photograph by Robert Mapplethorpe. Warhol stands with his back against a white wall perpendicular to the picture plane, turning his head to the right in three-quarter profile to face the camera. He wears a polo neck jumper underneath a black suit jacket, and his customary poker-straight white wig, which has flyaway hairs sticking out in all directions. Warhol’s expression is apathetic, although his eyes are fixed on the camera and his lips are slightly parted.

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paper print photograph gelatin silver

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Andy Warhol

1,983

ARTIST ROOMS Tate and National Galleries of Scotland

1983, printed 1990

CLEARED

4

support: 477 × 472 mm frame: 817 × 785 × 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 artist Andy Warhol is pictured from his shoulders up in this black and white portrait photograph by Robert Mapplethorpe. Warhol stands with his back against a white wall perpendicular to the picture plane, turning his head to the right in three-quarter profile to face the camera. He wears a polo neck jumper underneath a black suit jacket, and his customary poker-straight white wig, which has flyaway hairs sticking out in all directions. Warhol’s expression is apathetic, although his eyes are fixed on the camera and his lips are slightly parted.\nThis photograph was printed in 1990, the year after Mapplethorpe died, but the shot was actually taken in 1983. Mapplethorpe took four portraits of Warhol during the artist’s lifetime, all of which are in the ARTIST ROOMS collection, including another portrait taken during this same session (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-ar00150\" title=\"View the details of this artwork\">AR00150</a>). In the other portrait Warhol is seen leaning his right shoulder against the same white wall, his whole body facing the camera, with his hands held rather stiffly in front of him. Although this head shot focuses more intently on Warhol’s face, the artist also wears the same blank, uninterested expression in the other photograph from the shoot.\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 has noted 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. Photographed at the same time as the other 1983 portrait in ARTIST ROOMS, Mapplethorpe has selected just Warhol’s head and shoulders. Leaning against the white wall to the left, his body in profile, Warhol turns his head to face the camera, exhibiting 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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<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

2,009

[]

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

AR00220

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Robert Mapplethorpe

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In this black and white portrait photograph the artist Andy Warhol stands at the centre of the picture against a plain black background, framed from his head to his hands, which are loosely joined in a ‘V’ shape and somewhat reminiscent of a handcuffed position. He wears a silver wig, which is ruffled and in slight disarray, and a black leather jacket and scarf which visually blend in with the black background. The lighting emphasises the shiny quality of the leather jacket and highlights Warhol’s wig and pale complexion. The subject stands straight with his head angled slightly to the right while his eyes look directly at the camera with a blank expression.

false

1

https://media.tate.org.u…R/AR00220_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, printed 1990

CLEARED

4

support: 570 × 475 mm frame: 913 × 793 × 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\">\nIn this black and white portrait photograph the artist Andy Warhol stands at the centre of the picture against a plain black background, framed from his head to his hands, which are loosely joined in a ‘V’ shape and somewhat reminiscent of a handcuffed position. He wears a silver wig, which is ruffled and in slight disarray, and a black leather jacket and scarf which visually blend in with the black background. The lighting emphasises the shiny quality of the leather jacket and highlights Warhol’s wig and pale complexion. The subject stands straight with his head angled slightly to the right while his eyes look directly at the camera with a blank expression.\nThis photograph was taken by Robert Mapplethorpe in New York City in 1986 (although it was not printed until 1990). By this time Mapplethorpe and Warhol had met a number of times. Some of these meetings resulted in further portraits, such as those taken 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> and <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-ar00150\" title=\"View the details of this artwork\">AR00150</a>). In one of these portraits (Tate AR00150) Warhol assumes a pose similar to that adopted in this image, facing the camera with a blank expression, with his hands forming a ‘V’ shape in front of him. Mapplethorpe always encouraged his sitters to feel as comfortable as possible while being photographed (see Indiana and Mapplethorpe 1988, p.21). He allowed his subjects to play a role in front of the camera, which Warhol does here with his direct stare and self-conscious pose.\nDuring the period in which this photograph was taken, Mapplethorpe’s portraits formed a significant element of his work. In 1986 the photographer was commissioned by curator Richard Marshall to take portraits for the book 50 New York Artists, which included shots of Jasper Johns, Willem de Kooning, James Rosenquist and another portrait of Warhol.\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 Quoted in Arena: Robert Mapplethorpe, dir. by Nigel Finch, BBC television documentary, 18 March 1988.)</blockquote>\nMapplethorpe had other important connections with Andy Warhol which may inform consideration of this portrait. After seeing Warhol’s film Chelsea Girls in the 1960s, Mapplethorpe was motivated to explore the darker side of life (see Morrisroe 1995, pp.43–4). This influence is explicit in the photographer’s erotic explorations of sexuality through his work and also through his self–portraiture. The singer Patti Smith noted that Mapplethorpe ‘loved Andy Warhol and considered him our most important living artist. It was as close to hero worship as he ever got’ (Patti Smith, Just Kids, London 2010, p.69).\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. Arthur C. Danto, Playing with the Edge: The Photographic Achievement of Robert Mapplethorpe, Berkeley and London 1995.\nKarita Kuusisto and Susan Mc Ateer The University of Edinburgh January 2013\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n</div>\n", "display_name": "Summary", "publication_date": "2013-06-27T00:00:00", "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. This portrait shows Warhol wearing a black leather jacket and scarf that merges with the background, creating a triangular void between his head and hands. His hands are held in a slightly unnatural, awkward position to the front, almost as though handcuffed. His silver wig is ruffled and messy but his blank expression gives nothing away.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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artwork

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Frogs

2,009

[]

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

AR00221

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7007567 1002551 7007568 7012149

Robert Mapplethorpe

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false

1

https://media.tate.org.u…R/AR00221_10.jpg

11413

paper print photograph gelatin silver

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Frogs

1,984

ARTIST ROOMS Tate and National Galleries of Scotland

1984

CLEARED

4

support: 374 × 373 mm frame: 644 × 621 × 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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[ "animals: fish and aquatic life", "frog", "kitchen", "objects", "plate" ]

null

false

65 5481 84 1296

false

artwork

Photograph, gelatin silver print on paper

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3,587

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1,985

<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>

Gun Blast

2,009

[]

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

AR00222

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

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,985

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false

1

https://media.tate.org.u…R/AR00222_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" } ]

Gun Blast

1,985

ARTIST ROOMS Tate and National Galleries of Scotland

1985

CLEARED

4

unconfirmed: 508 × 406 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": "Mapplethorpe loved the adrenalin rush of danger and was attracted to the trappings, if not the actuality, of violence. He photographed himself with a knife, a rifle and a whip. Here he captures the moment after a shot has been fired from a revolver, so that the blast particles showing the trajectory of the bullet are clearly visible. Typically for Mapplethorpe he isolates the hand, gun and blast against a dark background and lines everything up in a diagonal that cuts the image into two halves.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "actions: postures and motions", "body", "gun, handgun", "hand", "hand / hands raised", "objects", "people", "weapon, firing / explosion", "weapons" ]

null

false

92 93 2814 1079 934 12084 90

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" } ]

3,588

[ { "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" } ]

1,988

<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>

Skull

2,009

[]

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

AR00223

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

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,988

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In this black and white photograph a human skull sits on a horizontal ledge near the centre of the image, angled so that it is in three-quarter profile facing towards the right-hand edge of the print. The eye sockets look upwards towards a light source outside of the picture from which beams of bright light stream forth, bisecting the image diagonally from the top right-hand corner to the lower left-hand corner. As a result, the upper half of the photograph is cast in shadow while the lower half is bathed in white light. The angle at which the light is directed emphasises the contours and crevices of the skull and its overall three-dimensionality, but also serves to flatten the space behind the skull by creating perfectly straight diagonal lines of light and shadow.

false

1

https://media.tate.org.u…R/AR00223_10.jpg

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": "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": 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" }, { "artistRoomsTour": true, "dateText": "15 December 2018 – 23 March 2019", "endDate": "2019-03-23", "exhibitionLegs": [ { "dateText": "15 December 2018 – 23 March 2019", "endDate": "2019-03-23", "id": 12474, "startDate": "2018-12-15", "venueName": "Atkinson Art Gallery (Southport, UK)", "venueWebsiteUrl": null } ], "id": 10272, "startDate": "2018-12-15", "title": "ARTIST ROOMS 2018: Robert Mapplethorpe", "type": "Loan-out" } ]

Skull

1,988

ARTIST ROOMS Tate and National Galleries of Scotland

1988, printed 1990

CLEARED

4

support: 476 × 470 mm frame: 819 × 788 × 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\">\nIn this black and white photograph a human skull sits on a horizontal ledge near the centre of the image, angled so that it is in three-quarter profile facing towards the right-hand edge of the print. The eye sockets look upwards towards a light source outside of the picture from which beams of bright light stream forth, bisecting the image diagonally from the top right-hand corner to the lower left-hand corner. As a result, the upper half of the photograph is cast in shadow while the lower half is bathed in white light. The angle at which the light is directed emphasises the contours and crevices of the skull and its overall three-dimensionality, but also serves to flatten the space behind the skull by creating perfectly straight diagonal lines of light and shadow.\nMapplethorpe studied for a Bachelor of Fine Arts at the Pratt Institute in Brooklyn, New York, between 1963 and 1969, although he never received a diploma because he dropped out. During his student days his interest in skull imagery was aroused when he was assigned a project to create a musical instrument from a bone. At this time Mapplethorpe owned a monkey called Scratch, whose name derived from a nickname for the devil, chosen because the monkey was uncontrollable. However Mapplethorpe was a negligent owner and arrived home one day to find Scratch unexpectedly dead. With the assignment due the following day, Mapplethorpe beheaded Scratch with a kitchen knife, boiled away his flesh and created an instrument. Rumours about the monkey’s death spread throughout the college with students suggesting that Mapplethorpe had beheaded the monkey while he was still alive, or that he had eaten the flesh in a voodoo cult ritual. Mapplethorpe encouraged these rumours by keeping Scratch’s skull in his pocket, occasionally whipping it out to parody Hamlet. Many Pratt alumnae were convinced that Mapplethorpe’s later photographs of skulls were, in fact, pictures of Scratch, yet there is no evidence to suggest that these assumptions are true. However, Patricia Morrisroe, Mapplethorpe’s biographer, believes that the monkey’s death and the use of his skull encapsulated the photographer’s ‘preoccupation with images of death and violence; his fascination with the devil; his desire to transform the ugly, or freakish, into works of beauty’ (Morrisroe 1995, p.42). The same interests could be said to be reflected in this photograph of a skull, particularly in the way the angled light creates patterns of light and dark on the skull’s uneven surface.\nMapplethorpe revived his interest in skull imagery in the years before his death from AIDS related complications in 1989. For example, in Mapplethorpe’s final self-portrait (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-self-portrait-ar00496\" title=\"View the details of this artwork\">AR00496</a>) taken in the same year as this photograph, the artist sits holding a cane topped with a carved wooden skull. Gaunt and weathered, Mapplethorpe stares straight ahead as though he is looking death straight in the eye, an impression reinforced by the presence of the skull. Art critic Kay Larson has commented on the ‘new morbidity’ of Mapplethorpe’s work from this period, seeing this photograph of the solitary skull as one of his most macabre images (cited in Morrisroe 1995, p.335).\nAlthough the skull’s significance as a symbol of death is central to the meaning of this photograph and is compounded by Mapplethorpe’s own ill health, it has also be considered in terms of its formal composition and relationship to sculpture. For example, art historian and curator Germano Celant has written about the way in which the subjects of Mapplethorpe’s photographs appear sculptural (Celant, Ippolitov and Vail 2004, pp.37-51), while Morrisroe has noted that Mapplethorpe considered the skull to be ‘the purest sculptural image of all; neither hair nor flesh spoiled its clean lines, and everything, literally, was stripped to the bone’ (Morrisroe 1995, p.335).\n\nFurther reading\n Patricia Morrisroe, Mapplethorpe. A Biography, London 1995. Germano Celant, Arkady Ippolitov and Karole P.B. Vail (eds.), Robert Mapplethorpe and the Classical Tradition: Photographs and Mannerist Prints, exhibition catalogue, Deutsche Guggenheim, Berlin 2004.\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": "The skull is the classic image of death and vanity, a reminder that we mortals are all destined to die. Mapplethorpe himself died from an AIDS-related illness in 1989 and in his latter work he tackled the prospect of his own death directly. He has placed the skull in such a position that the large eye sockets are emphasised, like black holes when set against the brightly lit forehead. Mapplethorpe has chosen to concentrate on those organs that determined his life – the eyes. He has also placed the skull in front of a diagonal line that not only holds it in place in the centre of the composition, but also acts as a shaft of light coming down from the same direction in which the skull is staring.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "body", "emotions, concepts and ideas", "formal qualities", "light", "natural phenomena", "people", "photographic", "shadow", "skull" ]

null

false

93 19604 70 9328 1810 2448

false

artwork

Photograph, gelatin silver print on paper

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3,589

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1,980

<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>

Waves

2,009

[]

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

AR00224

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

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,980

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false

1

https://media.tate.org.u…R/AR00224_10.jpg

11413

paper print photograph gelatin silver

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Waves

1,980

ARTIST ROOMS Tate and National Galleries of Scotland

1980

CLEARED

4

support: 341 × 342 mm frame: 611 × 588 × 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": "Mapplethorpe rarely photographed nature outside in the raw and wild. The sea, with its changeable and unpredictable moods, would seem to be an unlikely subject for him, but the way that he tackles it gives it order and regularity - elements that are central to Mapplethorpe’s aesthetic. He photographs it head on, so that the horizon, the waves and shoreline line up in horizontal bands. Note also how he gives the sky and the shore equal spaces in the composition.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "beach", "coast", "emotions, concepts and ideas", "formal qualities", "photographic", "sea", "seascapes and coasts", "wave" ]

null

false

1519 558 9328 557 73 2104

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" } ]

3,590

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1,980

<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>

Self Portrait

2,009

[]

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

AR00225

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

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,980

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ARTIST ROOMS Tate and National Galleries of Scotland

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In this black and white self-portrait Robert Mapplethorpe stands in front of one of his constructions, Black Star 1983, which consists of a black-painted frame in the shape of a five-pointed star or pentagram. Mapplethorpe poses in a dark leather coat and gloves, clutching a submachine gun which he points slightly upwards to his left. Underneath his leather coat Mapplethorpe is wearing a wing-collared shirt and a white bowtie. Mapplethorpe stands straight on and looks directly at the camera. The photograph is cropped just below the artist’s waist. The self-portrait is based on a famous 1974 publicity image of the newspaper heiress Patty Hearst holding a submachine gun with the symbol of the Symbionese Liberation Army on the wall behind her. Hearst gained notoriety that year after being kidnapped by – and subsequently joining – the American left-wing revolutionary group.

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Self Portrait

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ARTIST ROOMS Tate and National Galleries of Scotland

1983

CLEARED

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accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

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https://media.tate.org.u…R/AR00227_10.jpg

11413

paper print photograph gelatin silver

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Self Portrait

1,983

ARTIST ROOMS Tate and National Galleries of Scotland

1983

CLEARED

4

support: 476 × 375 mm frame: 817 × 690 × 27 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

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artwork

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3,593

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Self Portrait

2,009

[]

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

AR00228

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Robert Mapplethorpe

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https://media.tate.org.u…R/AR00228_10.jpg

11413

paper print photograph gelatin silver

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Self Portrait

1,981

ARTIST ROOMS Tate and National Galleries of Scotland

1981, printed 1992

CLEARED

4

support: 341 × 341 mm frame: 686 × 659 × 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

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<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>

Orchid and Hand

2,009

[]

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

AR00229

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

33008

7007567 1002551 7007568 7012149

Robert Mapplethorpe

1,983

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1

https://media.tate.org.u…R/AR00229_10.jpg

11413

paper print photograph gelatin silver

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Orchid and Hand

1,983

ARTIST ROOMS Tate and National Galleries of Scotland

1983

CLEARED

4

support: 373 × 375 mm frame: 644 × 617 × 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

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artwork

Acrylic paint and silkscreen on 2 canvases

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<a href="https://www.tate.org.uk/art/artists/andy-warhol-2121" aria-label="More by Andy Warhol" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Andy Warhol</a>

Alexandre Iolas

2,009

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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

AR00230

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Andy Warhol

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Warhol has included deliberate imperfections in this double portrait. Traditionally, portraiture preserves the image of the subject for posterity. Here the smears, blurring and faded sections makes immortality through art seem uncertain. The sitter, Alexandre Iolas, started out as a pianist and then a ballet dancer in the 1920s before opening galleries in New York, Paris, Milan and Geneva. He gave Warhol his first solo exhibition in New York in 1952. The pair remained friends until Warhol’s death.Gallery label, March 2010

false

1

https://media.tate.org.u…AR/AR00230_8.jpg

2121

painting acrylic paint silkscreen 2 canvases

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Alexandre Iolas

1,972

ARTIST ROOMS Tate and National Galleries of Scotland

1972

CLEARED

6

support: 1017 × 1017 × 29 mm support: 1017 × 1017 × 27 mm frame (each): 1097 × 1088 × 70 mm

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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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Gun

2,009

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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

AR00231

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Andy Warhol

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In 1968, a hanger-on at Warhol’s studio, ‘The Factory’, shot and wounded the artist. The gun in this work is similar to the .32 snub-nosed pistol Valerie Solanas used in her attack. ‘If only she had done it when the camera was on’, Warhol reportedly said. At this monumental scale the gun is a dramatic prop, as if seen in close-up on a cinema screen, perhaps more a symbol of power than a threatening weapon. But the blood red colour hints at the visceral effects of violence.Gallery label, March 2010

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Gun

1,981

ARTIST ROOMS Tate and National Galleries of Scotland

1981

CLEARED

6

support, each: 1782 × 2286 × 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

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Robert Mapplethorpe

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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

AR00232

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Andy Warhol

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Robert Mapplethorpe

1,983

ARTIST ROOMS Tate and National Galleries of Scotland

1983

CLEARED

6

support: 1017 × 1017 × 35 mm frame: 1097 × 1088 × 70 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

Acrylic paint and silkscreen on 2 canvases

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<a href="https://www.tate.org.uk/art/artists/andy-warhol-2121" aria-label="More by Andy Warhol" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Andy Warhol</a>

Hamburger

2,009

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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

AR00233

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Hamburger is a duplicated image of an advertisement, silkscreened in black onto canvas with a white background. In this high contrast reproduction the original image has been simplified to the extent that most of the detail has been lost and only the black outline remains. The central line of text exclaims ‘HAMBURGER’ in capital letters, with the words ‘Wholesome’ and ‘Delicious’ in smaller text beneath, with no reference to a particular brand name. Warhol doubled the image to form a diptych, which has then been set within one frame to make a single work. The light coloured background and black ink mark a departure from the bold colours of Warhol’s earlier prints.

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painting acrylic paint silkscreen 2 canvases

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Hamburger

1,985

ARTIST ROOMS Tate and National Galleries of Scotland

1985–6

CLEARED

6

support, each: 1832 × 2037 × 33 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\nHamburger is a duplicated image of an advertisement, silkscreened in black onto canvas with a white background. In this high contrast reproduction the original image has been simplified to the extent that most of the detail has been lost and only the black outline remains. The central line of text exclaims ‘HAMBURGER’ in capital letters, with the words ‘Wholesome’ and ‘Delicious’ in smaller text beneath, with no reference to a particular brand name. Warhol doubled the image to form a diptych, which has then been set within one frame to make a single work. The light coloured background and black ink mark a departure from the bold colours of Warhol’s earlier prints.\n\nHamburger is one of several works created by Warhol in the mid-1980s in which he revisited the forms and motifs of his work from the 1960s. This work was part of a series called Ads and Illustrations of which there are other examples in the ARTIST ROOMS collection (for instance Paratrooper Boots, 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-paratrooper-boots-ar00588\" title=\"View the details of this artwork\">AR00588</a>, Energy-Power, 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-energy-power-ar00237\" title=\"View the details of this artwork\">AR00237</a>, and Repent and Sin No More, 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-repent-and-sin-no-more-ar00234\" title=\"View the details of this artwork\">AR00234</a>, all c.1985–6). The advertisements were primarily taken from newspapers, traced by hand and then printed onto canvas. As such they have a looser, graphic quality than the artist’s highly stylised photo-silkscreen works printed from Polaroid photographs. This particular silkscreen was reused multiple times. In other versions of Hamburger Warhol experimented with different colours for the background and the text, such as red printed on yellow. Despite these changes, however, he maintained the simple two-tone scheme throughout the series.\nWarhol’s choice of subject matter speaks to the artist’s interest in Americana (objects that epitomise American culture). In a 1977 interview for the magazine High Times Warhol responded to the question, ‘What do you like to eat?’ with the remark, ‘Just plain food. Plain American food’ (quoted in O’Brien 1977, p.259). The hamburger in particular was a recurrent motif in Warhol’s work. For instance, in a short video from 1981 Warhol filmed himself eating a hamburger alone at a table, in silence, with an impassive expression. Despite its repeated use in the artist’s work, the meaning attached to the hamburger motif was often ambiguous. That Warhol chose to revisit this iconic subject in the Ads and Illustrations series is noteworthy. The other silkscreen prints from this series in the ARTIST ROOMS collection make direct references to war, spirituality and religion in Reagan-era America. Yet although Hamburger seems to offer a more anodyne subject matter, it might be interpreted within the context of the escalation of the Cold War and the ensuing public fears of the nuclear threat from the Soviet Union. Specifically, the lines radiating outwards from the centre of the image, together with the bulbous shape of the burger bun, visually refer to the outline of an atomic mushroom cloud. In this way Hamburger articulates both American optimism and Cold War anxiety. Curator Vincent Fremont has observed that this series of paintings not only echoes the politics of America in the 1980s, but also ‘continues to bluntly reflect the world we live in today’, with similar anxieties and concerns following us into the twenty-first century (Buchloh and Fremont 2002, p.18).\n\nFurther reading\n Glenn O’Brien, ‘Interview: Andy Warhol’ (1977) in Kenneth Goldsmith (ed.), I’ll Be Your Mirror: The Selected Andy Warhol Interviews: 1962–1987, New York 2004, pp.233–64. Benjamin Buchloh and Vincent Fremont, Andy Warhol: B&W Paintings, Ads and Illustrations 1985–1986, exhibition catalogue, Gagosian Gallery, New York and London 2002, reproduced p.19. Frayda Feldman and Jörg Schellmann, Andy Warhol Prints: A Catalogue Raisonné 1962–1987, New York 2003, p.354, reproduced p.255.\nOliver Lurz The University of Edinburgh January 2012\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n\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": "During the mid 1980s Warhol returned to the newspaper adverts that had informed his paintings of the early 1960s. He created a group of works called ‘Ad’s and Illustrations’ that differed from his photographic screenprints and highly stylised images of celebrities. They are mostly black and white and were created by tracing the original adverts by hand, which creates a looser, graphic quality. During the 1980s the U.S.A. was still in the depths of the Cold War. Within this context three themes emerge in these paintings: war, death and religion. This diptych, featuring the iconic American hamburger, is reminiscent of Warhol’s earlier screenprints of American popular culture. Yet it also resembles both a mushroom cloud (associated with nuclear explosions) and a glowing halo.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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artwork

Acrylic paint and silkscreen on 2 canvases

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<a href="https://www.tate.org.uk/art/artists/andy-warhol-2121" aria-label="More by Andy Warhol" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Andy Warhol</a>

Repent and Sin More

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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

AR00234

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Repent and Sin No More!

1,985

ARTIST ROOMS Tate and National Galleries of Scotland

1985–6

CLEARED

6

support: 2034 × 1781 × 33 mm support: 2033 × 1834 × 32 mm displayed: 2034 × 3615 × 33 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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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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Mark Beast

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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

AR00238

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painting acrylic paint silkscreen 2 canvases

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The Mark of the Beast

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ARTIST ROOMS Tate and National Galleries of Scotland

c.1985–6

CLEARED

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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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Christ 998 negative and positive

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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

AR00239

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painting acrylic paint silkscreen 2 canvases

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Christ $9.98 (negative and positive)

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ARTIST ROOMS Tate and National Galleries of Scotland

1985–6

CLEARED

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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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Nations Nightmare

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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

AR00240

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“The Nation’s Nightmare”

1,951

ARTIST ROOMS Tate and National Galleries of Scotland

1951

CLEARED

5

support: 371 × 345 mm frame: 683 × 551 × 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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[ "adults", "arm", "body", "contemporary society", "drug use", "film, music and ballet", "health and welfare", "literature and fiction", "man", "medical", "objects", "people", "radio: ‘The Nation’s Nightmare’", "social comment", "society", "syringe" ]

null

false

1585 93 2476 17645 10058 156 195 171 158 17201

false

artwork

Ink and watercolour on paper

[ { "append_role_to_name": false, "date": "1928–1987", "fc": "Andy Warhol", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/andy-warhol-2121" } ]

3,606

[ { "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/andy-warhol-2121" aria-label="More by Andy Warhol" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Andy Warhol</a>

Embracing Couple with Marbleised Background

2,009

[]

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

AR00241

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

7013927 7013272 7007710 7012149 7007567 1002551 7007568

Andy Warhol

1,952

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false

1

https://media.tate.org.u…AR/AR00241_8.jpg

2121

paper unique ink watercolour

[ { "artistRoomsTour": true, "dateText": "15 May 2009 – 5 July 2009", "endDate": "2009-07-05", "exhibitionLegs": [ { "dateText": "15 May 2009 – 5 July 2009", "endDate": "2009-07-05", "id": 4920, "startDate": "2009-05-15", "venueName": "New Art Gallery Walsall (Walsall, UK)", "venueWebsiteUrl": "http://www.artatwalsall.org.uk/" } ], "id": 4121, "startDate": "2009-05-15", "title": "ARTIST ROOMS 2009: Andy Warhol Drawings", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "17 April 2010 – 23 October 2010", "endDate": "2010-10-23", "exhibitionLegs": [ { "dateText": "17 April 2010 – 23 October 2010", "endDate": "2010-10-23", "id": 5363, "startDate": "2010-04-17", "venueName": "Perth Museum & Art Gallery (Perth, UK)", "venueWebsiteUrl": "http://www.pkc.gov.uk/" } ], "id": 4493, "startDate": "2010-04-17", "title": "ARTIST ROOMS 2010: Andy Warhol", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "17 November 2018 – 2 June 2019", "endDate": "2019-06-02", "exhibitionLegs": [ { "dateText": "17 November 2018 – 2 June 2019", "endDate": "2019-06-02", "id": 12556, "startDate": "2018-11-17", "venueName": "Scottish National Gallery of Modern Art (Edinburgh, UK)", "venueWebsiteUrl": "http://www.nationalgalleries.org/" } ], "id": 10350, "startDate": "2018-11-17", "title": "Andy Warhol and Eduardo Paolozzi: I want to be a machine", "type": null }, { "artistRoomsTour": true, "dateText": "15 March 2025 – 29 June 2025", "endDate": "2025-06-29", "exhibitionLegs": [ { "dateText": "15 March 2025 – 29 June 2025", "endDate": "2025-06-29", "id": 16252, "startDate": "2025-03-15", "venueName": "MK Gallery (Milton Keynes, UK)", "venueWebsiteUrl": null } ], "id": 13333, "startDate": "2025-03-15", "title": "Andy Warhol", "type": "Loan-out" } ]

Embracing Couple with Marbleised Background

1,952

ARTIST ROOMS Tate and National Galleries of Scotland

1952

CLEARED

5

support: 300 × 356 mm frame: 680 × 550 × 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

[]

[ "actions: expressive", "adults", "couple", "embracing", "figure", "hill", "landscape", "people", "sex and relationships", "society" ]

null

false

177 600 544 451 636 157

false

artwork

Ink and watercolour on paper

[ { "append_role_to_name": false, "date": "1928–1987", "fc": "Andy Warhol", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/andy-warhol-2121" } ]

3,607

[ { "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/andy-warhol-2121" aria-label="More by Andy Warhol" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Andy Warhol</a>

Female Bust Two Children with Marbleised Background

2,009

[]

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

AR00242

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

7013927 7013272 7007710 7012149 7007567 1002551 7007568

Andy Warhol

1,952

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false

1

https://media.tate.org.u…AR/AR00242_8.jpg

2121

paper unique ink watercolour

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Female Bust, Two Children with Marbleised Background

1,952

ARTIST ROOMS Tate and National Galleries of Scotland

1952

CLEARED

5

image: 688 × 560 mm frame: 912 × 750 × 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

[]

[ "boy", "children", "clothing and personal items", "fine arts and music", "girl", "hat", "objects", "people", "sculpture" ]

null

false

249 94 88 80 594 493 2648

false

artwork

Ink, watercolour and graphite on paper

[ { "append_role_to_name": false, "date": "1928–1987", "fc": "Andy Warhol", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/andy-warhol-2121" } ]

3,608

[ { "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" } ]

1,953

<a href="https://www.tate.org.uk/art/artists/andy-warhol-2121" aria-label="More by Andy Warhol" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Andy Warhol</a>

Runaway Pigeon

2,009

[]

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

AR00243

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

7013927 7013272 7007710 7012149 7007567 1002551 7007568

Andy Warhol

1,953

[ { "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": 0, "id": 18041, "level": 3, "name": "Edgely, Leslie, ‘The Runaway Pigeon’", "parent_id": 58, "workCount": 3 }, { "archiveItemCount": 5302, "id": 29, "level": 1, "name": "emotions, concepts and ideas", "parent_id": 1, "workCount": 11114 }, { "archiveItemCount": 3599, "id": 6729, "level": 2, "name": "formal qualities", "parent_id": 29, "workCount": 8855 }, { "archiveItemCount": 362, "id": 58, "level": 2, "name": "literature (not Shakespeare)", "parent_id": 55, "workCount": 1914 }, { "archiveItemCount": 674, "id": 55, "level": 1, "name": "literature and fiction", "parent_id": 1, "workCount": 2464 }, { "archiveItemCount": 58, "id": 2594, "level": 3, "name": "looking down", "parent_id": 92, "workCount": 142 }, { "archiveItemCount": 1455, "id": 195, "level": 3, "name": "man", "parent_id": 95, "workCount": 8998 }, { "archiveItemCount": 0, "id": 91, "level": 1, "name": "people", "parent_id": 1, "workCount": 22072 }, { "archiveItemCount": 110, "id": 11845, "level": 3, "name": "silhouette", "parent_id": 6729, "workCount": 278 }, { "archiveItemCount": 1168, "id": 167, "level": 3, "name": "woman", "parent_id": 95, "workCount": 7942 } ]

false

1

https://media.tate.org.u…AR/AR00243_8.jpg

2121

paper unique ink watercolour graphite

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“The Runaway Pigeon”

1,953

ARTIST ROOMS Tate and National Galleries of Scotland

1953

CLEARED

5

support: 269 × 295 mm frame: 680 × 550 × 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

[]

[ "actions: postures and motions", "adults", "Edgely, Leslie, ‘The Runaway Pigeon’", "emotions, concepts and ideas", "formal qualities", "literature and fiction", "literature (not Shakespeare)", "looking down", "man", "people", "silhouette", "woman" ]

null

false

92 18041 58 2594 195 11845 167

false

artwork

Ink, watercolour and graphite on paper

[ { "append_role_to_name": false, "date": "1928–1987", "fc": "Andy Warhol", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/andy-warhol-2121" } ]

3,609

[ { "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" } ]

1,953

<a href="https://www.tate.org.uk/art/artists/andy-warhol-2121" aria-label="More by Andy Warhol" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Andy Warhol</a>

Runaway Pigeon

2,009

[]

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

AR00244

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

7013927 7013272 7007710 7012149 7007567 1002551 7007568

Andy Warhol

1,953

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false

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2121

paper unique ink watercolour graphite

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“The Runaway Pigeon”

1,953

ARTIST ROOMS Tate and National Galleries of Scotland

1953

CLEARED

5

support: 272 × 237 mm frame: 680 × 550 × 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

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artwork

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3,610

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1,959

<a href="https://www.tate.org.uk/art/artists/andy-warhol-2121" aria-label="More by Andy Warhol" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Andy Warhol</a>

A Hand Bridge

2,009

[]

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

AR00245

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437

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1,959

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false

1

https://media.tate.org.u…AR/AR00245_8.jpg

2121

paper unique ink graphite dye

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“A Hand of Bridge”

1,959

ARTIST ROOMS Tate and National Galleries of Scotland

1959

CLEARED

5

image: 320 × 238 mm frame: 680 × 550 × 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

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false

artwork

Ink and dye on paper

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3,611

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1,953

<a href="https://www.tate.org.uk/art/artists/andy-warhol-2121" aria-label="More by Andy Warhol" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Andy Warhol</a>

Musical Notes and Sprite Faces

2,009

[]

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

AR00246

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437

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Musical Notes and Sprite Faces

1,953

ARTIST ROOMS Tate and National Galleries of Scotland

1953

CLEARED

5

support: 454 × 365 mm frame: 680 × 550 × 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

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false

artwork

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3,612

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1,954

<a href="https://www.tate.org.uk/art/artists/andy-warhol-2121" aria-label="More by Andy Warhol" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Andy Warhol</a>

Town and Country

2,009

[]

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

AR00247

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

437

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Andy Warhol

1,954

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false

1

https://media.tate.org.u…AR/AR00247_8.jpg

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“Town and Country”

1,954

ARTIST ROOMS Tate and National Galleries of Scotland

1954

CLEARED

5

image: 328 × 247 mm frame: 680 × 550 × 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

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false

artwork

Ink and dye on paper

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3,613

[ { "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/andy-warhol-2121" aria-label="More by Andy Warhol" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Andy Warhol</a>

Chess Player

2,009

[]

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

AR00248

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

7013927 7013272 7007710 7012149 7007567 1002551 7007568

Andy Warhol

1,954

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false

1

https://media.tate.org.u…AR/AR00248_8.jpg

2121

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Chess Player

1,954

ARTIST ROOMS Tate and National Galleries of Scotland

1954

CLEARED

5

image: 534 × 433 mm frame: 910 × 750 × 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

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false

artwork

Ink, graphite and dye on paper

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3,614

[ { "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/andy-warhol-2121" aria-label="More by Andy Warhol" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Andy Warhol</a>

Happy Butterfly Day

2,009

[]

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

AR00249

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

437

7013927 7013272 7007710 7012149 7007567 1002551 7007568

Andy Warhol

1,955

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false

1

https://media.tate.org.u…AR/AR00249_8.jpg

2121

paper unique ink graphite dye

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Happy Butterfly Day

1,955

ARTIST ROOMS Tate and National Galleries of Scotland

1955

CLEARED

5

support: 327 × 455 mm frame: 550 × 680 × 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": "In ‘Happy Butterfly Day’ Warhol uses his blotted-line technique and shows an early interest in the repetition of a similar image – a characteristic which would define much of his later work. The vibrant colours were possibly added at one of Warhol’s colouring parties, hosted at the fashionable Serendipity 3 café after it opened in 1954. He would encourage his friends – some of whom would have helped him create the original illustrations - to colour the works with an inventiveness that adds to their whimsical nature. This process looks forward to the production methods of Warhol’s legendary studio, the Factory, in the 1960s.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "animals: insects & lower animals", "butterfly", "emotions and human qualities", "emotions, concepts and ideas", "formal qualities", "happiness", "repetition" ]

null

false

66 2568 31 940 9024

false

artwork

Ink, graphite and dye on paper

[ { "append_role_to_name": false, "date": "1928–1987", "fc": "Andy Warhol", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/andy-warhol-2121" } ]

3,615

[ { "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/andy-warhol-2121" aria-label="More by Andy Warhol" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Andy Warhol</a>

Tondo Butterflies

2,009

[]

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

AR00250

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

437

7013927 7013272 7007710 7012149 7007567 1002551 7007568

Andy Warhol

1,955

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false

1

https://media.tate.org.u…AR/AR00250_8.jpg

2121

paper unique ink graphite dye

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Tondo (Butterflies)

1,955

ARTIST ROOMS Tate and National Galleries of Scotland

1955

CLEARED

5

support: 660 × 530 mm frame: 688 × 550 × 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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[ "animals: insects & lower animals", "butterfly" ]

null

false

66 2568

false

artwork

Ink and dye on paper

[ { "append_role_to_name": false, "date": "1928–1987", "fc": "Andy Warhol", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/andy-warhol-2121" } ]

3,616

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1,955

<a href="https://www.tate.org.uk/art/artists/andy-warhol-2121" aria-label="More by Andy Warhol" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Andy Warhol</a>

Blue Shoe

2,009

[]

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

AR00251

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

7013927 7013272 7007710 7012149 7007567 1002551 7007568

Andy Warhol

1,955

[]

false

1

https://media.tate.org.u…AR/AR00251_8.jpg

2121

paper unique ink dye

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Blue Shoe

1,955

ARTIST ROOMS Tate and National Galleries of Scotland

1955

CLEARED

5

image: 327 × 970 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

[]

null

false

88 6930 9024 1029 11845 6749

false

artwork

Ink, gold leaf, graphite and gouache on paper

[ { "append_role_to_name": false, "date": "1928–1987", "fc": "Andy Warhol", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/andy-warhol-2121" } ]

3,617

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1,957

<a href="https://www.tate.org.uk/art/artists/andy-warhol-2121" aria-label="More by Andy Warhol" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Andy Warhol</a>

Baboon

2,009

[]

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

AR00252

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

7013927 7013272 7007710 7012149 7007567 1002551 7007568

Andy Warhol

1,957

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false

1

https://media.tate.org.u…AR/AR00252_8.jpg

2121

paper unique ink gold leaf graphite gouache

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Baboon

1,957

ARTIST ROOMS Tate and National Galleries of Scotland

1957

CLEARED

5

image: 450 × 711 mm frame: 750 × 910 × 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

[]

[ "animals: mammals", "baboon", "emotions, concepts and ideas", "formal qualities", "repetition", "silhouette", "symmetry" ]

null

false

67 10215 9024 11845 6749

false

artwork

Ink, gold leaf and graphite on paper

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3,618

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1,957

<a href="https://www.tate.org.uk/art/artists/andy-warhol-2121" aria-label="More by Andy Warhol" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Andy Warhol</a>

Hand Holding Glass with Daffodil

2,009

[]

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

AR00253

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

7013927 7013272 7007710 7012149 7007567 1002551 7007568

Andy Warhol

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false

1

https://media.tate.org.u…AR/AR00253_8.jpg

2121

paper unique ink gold leaf graphite

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Hand Holding Glass with Daffodil

1,957

ARTIST ROOMS Tate and National Galleries of Scotland

1957

CLEARED

5

support: 460 × 559 mm frame: 752 × 752 × 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

175 93 276 4599 19665 1079 84 72 9024 11845 6749 1461 170

false

artwork

Ink and dye on paper

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3,619

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1,958

<a href="https://www.tate.org.uk/art/artists/andy-warhol-2121" aria-label="More by Andy Warhol" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Andy Warhol</a>

Hot Air Balloon

2,009

[]

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

AR00254

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Andy Warhol

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false

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https://media.tate.org.u…AR/AR00254_8.jpg

2121

paper unique ink dye

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Hot Air Balloon

1,958

ARTIST ROOMS Tate and National Galleries of Scotland

1958

CLEARED

5

support: 467 × 362 mm frame: 680 × 550 × 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

1347 8620 159 77

false

artwork

Ink and dye on paper

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<a href="https://www.tate.org.uk/art/artists/andy-warhol-2121" aria-label="More by Andy Warhol" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Andy Warhol</a>

Ice Cream Dessert

2,009

[]

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

AR00255

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

437

7013927 7013272 7007710 7012149 7007567 1002551 7007568

Andy Warhol

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1

https://media.tate.org.u…AR/AR00255_8.jpg

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Ice Cream Dessert

1,959

ARTIST ROOMS Tate and National Galleries of Scotland

1959

CLEARED

5

image: 695 × 428 mm frame: 910 × 750 × 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

286 9466

false

artwork

Ink on paper and snakeskin on ink on paper

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<a href="https://www.tate.org.uk/art/artists/andy-warhol-2121" aria-label="More by Andy Warhol" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Andy Warhol</a>

Wonderful World Fleming Joffe

2,009

[]

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

AR00256

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

437

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Andy Warhol

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false

1

https://media.tate.org.u…AR/AR00256_8.jpg

2121

paper unique ink snakeskin

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“The Wonderful World of Fleming Joffe”

1,960

ARTIST ROOMS Tate and National Galleries of Scotland

1960

CLEARED

5

image: 480 × 340 mm frame: 680 × 550 × 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": "Fleming-Joffe was a small leather-goods company for whom Warhol created advertisements from 1958 until 1963/4. One of the owners, Teddy Edelman, recalled: “He walked in, we loved his work, and we hired him”. Known for their intriguing use of dyed reptile skin, Warhol transformed the company’s image with captivating illustrations for each product line. He also hand-painted a canopy for one of the company’s showrooms and began a series of illustrations, based on a character called ‘Noa the Boa’, for a short film (which was unfortunately never produced) to be shown at a highly-coveted fashion-award ceremony.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "actions: postures and motions", "adults", "advertising", "animals: features", "animals: insects & lower animals", "animals: reptiles", "arm / arms raised", "astronomy", "body", "butterfly", "fairy", "figure", "fly", "fur / hide", "heart", "inscriptions", "leaf", "lifestyle and culture", "lizard", "magic and occultism", "people", "plant", "plants and flowers", "religion and belief", "snake", "society", "star", "symbols and personifications", "title of work" ]

null

false

92 6928 64 66 68 1050 69 93 2568 2153 451 1007 4347 3598 166 448 6374 138 2369 72 1408 1707 1986

false

artwork

Ink and dye on paper

[ { "append_role_to_name": false, "date": "1928–1987", "fc": "Andy Warhol", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/andy-warhol-2121" } ]

3,622

[ { "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" } ]

1,960

<a href="https://www.tate.org.uk/art/artists/andy-warhol-2121" aria-label="More by Andy Warhol" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Andy Warhol</a>

Stars and Half Moons

2,009

[]

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

AR00257

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

437

7013927 7013272 7007710 7012149 7007567 1002551 7007568

Andy Warhol

1,960

[ { "archiveItemCount": 346, "id": 69, "level": 3, "name": "astronomy", "parent_id": 60, "workCount": 886 }, { "archiveItemCount": 28, "id": 537, "level": 3, "name": "moon", "parent_id": 69, "workCount": 398 }, { "archiveItemCount": 23, "id": 1707, "level": 3, "name": "star", "parent_id": 69, "workCount": 139 } ]

false

1

https://media.tate.org.u…AR/AR00257_8.jpg

2121

paper unique ink dye

[ { "artistRoomsTour": true, "dateText": "15 May 2009 – 5 July 2009", "endDate": "2009-07-05", "exhibitionLegs": [ { "dateText": "15 May 2009 – 5 July 2009", "endDate": "2009-07-05", "id": 4920, "startDate": "2009-05-15", "venueName": "New Art Gallery Walsall (Walsall, UK)", "venueWebsiteUrl": "http://www.artatwalsall.org.uk/" } ], "id": 4121, "startDate": "2009-05-15", "title": "ARTIST ROOMS 2009: Andy Warhol Drawings", "type": "Loan-out" }, { "artistRoomsTour": true, "dateText": "15 March 2025 – 29 June 2025", "endDate": "2025-06-29", "exhibitionLegs": [ { "dateText": "15 March 2025 – 29 June 2025", "endDate": "2025-06-29", "id": 16252, "startDate": "2025-03-15", "venueName": "MK Gallery (Milton Keynes, UK)", "venueWebsiteUrl": null } ], "id": 13333, "startDate": "2025-03-15", "title": "Andy Warhol", "type": "Loan-out" } ]

Stars and Half Moons

1,960

ARTIST ROOMS Tate and National Galleries of Scotland

1960

CLEARED

5

support: 310 × 207 mm frame: 680 × 550 × 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": "Warhol’s most famous work, from the early 1960s onwards, differs from his commercial illustrations in various respects. Yet there are similarities, with specific aspects of his later work anticipated in many of these early drawings. During the 1950s, alongside his blotted-line technique, Warhol began investigating different processes which he could incorporate into his work, such as marbled paper and gold leaf. This illustration is an example of his experimentation with rubber stamps to create an identical, repeated image. This directly relates to the technique of screenprinting and his interest in duplicating images and motifs.\n", "display_name": "Online caption", "publication_date": "2009-04-16T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "astronomy", "moon", "star" ]

null

false

69 537 1707

false

artwork