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] | Foot with Cat | 1,955 | ARTIST ROOMS Tate and National Galleries of Scotland | 1955–7 | CLEARED | 5 | support: 424 × 350 mm
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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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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 | AR00260 | {
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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>
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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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"content": "<div class=\"text\">\n<p>\n<i>Head of a Girl and Children </i>is a drawing featuring a young girl shown from the mouth upwards, with five boys depicted behind her, three of which are executed with minimal detail and two being only partial figures. The girl’s head is shown frontally on the right-hand side of the composition, and its large size and cropped face suggest close proximity to the viewer. Her fingers are placed in her mouth, a gesture that could imply hesitation. The group of children in the background are drawn in simple lines and in some areas it appears as though these have been partially erased. A brownish-ochre band of paint spreads from the top left-hand side and down the centre of the paper, covering part of the girl’s face and almost splitting the composition into two halves.</p>\n<p>This work was created by the American artist Andy Warhol in New York between 1958 and 1961. The thick block of brownish-ochre gouache paint was applied to the Strathmore paper in loose brushstrokes, with the drawing added over the top of the paint. Predominantly a line drawing, there is little detail or modelling visible aside from some shading in the form of loosely rendered linear hatching. As a result, the style of the work resembles that produced by tracing – a method that the artist had employed in his work since he was a student in Pittsburgh in the 1940s. Warhol is also known to have drawn from enlarged, projected images, and the size of this sketch and its simple lines suggest that this could be the technique used to produce this drawing. This and many of Warhol’s other sketches are not preliminary drawings but rather graphic works in which the artist developed his style as a draughtsman.</p>\n<p>As is the case with many of his drawings from this period, such as <i>Children</i> 1958–61 (estate of the artist), Warhol worked from images taken by the photographer Edward Wallowitch that depicted the streets of New York and often featured children (see Hofmaier 2003, pl.8 and 8b). In this instance the group of boys in the background was copied directly from an untitled Wallowitch photograph taken in the mid-1950s (reproduced in Hofmaier 2003, pl.9b). Warhol added the girl to the composition, possibly lifting it from a different photograph. Warhol’s portraits often emphasise the eyes and mouths of his sitters, and in 1975 he said of children’s features, ‘[they] are always beautiful. Every kid, up to, say, eight years old, looks good … They always have the perfect nose … Small features and perfect skin’ (quoted in Hofmaier 2003, p.5).</p>\n<p>Warhol sometimes completed sketches on sheets of paper that were held together with brown adhesive tape, as is the case with <i>Three Laughing Girls</i> 1954–5 (estate of the artist). In <i>Head of a Girl and Children</i> the brownish-ochre area might serve as a painted version of such tape, functioning either as a way to introduce colour or to indicate that the composition has been achieved by combining two separate photographic images.</p>\n<p>Differing from much of his earlier work and including the blotted line technique that he developed as a commercial illustrator, many of Warhol’s more personal sketches did not come to light until after his death in 1987. While his most famous works make clear reference to consumerism and mass media, Warhol’s drawings were often based on photographs that appeared in magazines such as <i>Look</i> and <i>Life </i>during the 1950s and 1960s. In 1985 Warhol reflected that ‘Commercial art at that time was so hard because photography had really taken over, and all of the illustrators were going out of business really fast’ (quoted in Hofmaier 2003, p.7). The art critic James Hofmaier has pointed out that it is therefore ironic that so many of Warhol’s commercially successful drawings were based on photographs (Hofmaier 2003, p.7).</p>\n<p>Art historian Marco Livingstone has suggested that Warhol used photographs frequently because he preferred to work from an object or scene that had already been translated into two dimensions, even when the actual object or scene might be to hand (see Livingstone 1989, p.65). This is particularly pertinent when considering Warhol’s celebrity portraits, which were developed from existing photographs. In his multiple silkscreen prints of Hollywood stars, such as those of Marilyn Monroe produced in 1962 and taken from a 1953 publicity still from the movie <i>Niagra</i> (see <i>Marilyn Diptych</i> 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/warhol-marilyn-diptych-t03093\" title=\"View the details of this artwork\"><span>T03093</span></a>), the artist produced portraits that became as much about the concept of the celebrity and the icon as they were about the individual. By contrast, his drawings could be seen as more intimate recordings of the real lives of those who inhabited the city in which he lived.</p>\n<p>\n<b>Further reading</b>\n<br/>Marco Livingstone, ‘Do It Yourself: Notes on Warhol’s Techniques’, in Kynaston McShine (ed.), <i>Andy Warhol: A Retrospective</i>, exhibition catalogue, Museum of Modern Art, New York 1989.<br/>James Hofmaier, <i>Warhol antePop: Drawings 1958–62</i>, exhibition catalogue, Galerie Daniel Blau, Munich 2003, reproduced pl.9b.<br/>Daniel Blau, <i>From Silverpoint to Silver Screen: Andy Warhol 1950s Drawings</i>, exhibition catalogue, Staatliche Graphische Sammlung, Munich 2012.</p>\n<p>Lucinda Towler<br/>November 2016</p>\n<p>\n<i>Supported by the Terra Foundation for American Art.</i>\n</p>\n</div>\n",
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When he began making the stitched photograph works Warhol selected images from among the thousands he had amassed.</p>\n<p>The six photographic prints that make up this work have been developed to different extents: from the top left-hand corner to the bottom right-hand corner the images move from a bleached whiteness in which the content of the bottom half of the photograph is difficult to discern, to a darker image in which some details fade to black. In many of the stitched photograph works the multiple images that make up the piece are developed in the same way, and are thus identical. However, some of them, including this work, are constituted from variously shaded versions of the same photograph. According to art historian William Ganis, this distinction may be due to the different techniques Warhol’s assistants employed to make particular stitched photograph works. Ganis writes, ‘The prints made by [Christopher] Makos often have more variation across the images; those printed by Terry Murillo are more homogeneous’ (Ganis 2004, p.30). What is notable about <i>Statue of Liberty</i> is that the move from light to dark across the images relates to the subject of the work, even if the appearance of the word ‘enlightening’ on the banner seems to be counteracted by the increasing darkness of the photographs if viewed from left to right.</p>\n<p>The Statue of Liberty is featured in a number of works by Warhol, including another stitched photograph work made not from an image of a celebratory banner but from four identical photographs of the statue itself. In 1962 he made two optical paintings featuring the iconic monument, in which an appropriated postcard image was repeated multiple times across the canvas. Washes of red and green paint variously revealed or obscured the statue in a manner similar to the way in which the alternative versions of the image in this work are more or less legible. In 1986, the same year he made this stitched photograph, Warhol produced a number of six-by-six-foot paintings of the statue. Each was centred on a close-up of the figure’s head overlaid with boldly coloured camouflage patterns. An exhibition of these works called <i>Ten Statues of Liberty</i> took place in Paris at Galerie Lavignes-Bastille in April and May 1986. Although the photograph used as the basis for this work refers to the Statue of Liberty, it is actually an image of a sign. A number of other stitched photograph works also depict signs, including <i>Cough</i> 1986 (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-cough-ar00292\" title=\"View the details of this artwork\"><span>AR00292</span></a>).</p>\n<p>Warhol regularly made work in various media featuring images of architecture and monuments. While travelling around the world in 1956 he made sketchbook drawings of buildings in Cambodia and Japan. He also created screenprints of iconic edifices such as the Washington Monument, and was commissioned to produce paintings of buildings such as Trump Tower on Madison Avenue in New York. Other stitched photograph works also include images of buildings and monuments, including the World Trade Centre. One of Warhol’s most famous works is an eight hour film of the Empire State Building made in 1964 and called <i>Empire</i>, in which the building’s monumental status is recorded in a film of monumental length.</p>\n<p>\n<b>Further reading</b>\n<br/>William V. Ganis, <i>Andy Warhol’s Serial Photography</i>, Cambridge 2004.<br/>Christopher Makos, <i>Warhol / Makos in Context</i>, New York 2007.</p>\n<p>Glyn Davis<br/>University of Edinburgh<br/>December 2013</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS</i>.</p>\n</div>\n",
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Another of these also features Grace Jones, <i>Grace Being Painted by Keith </i>1986 (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-grace-being-painted-by-keith-ar00291\" title=\"View the details of this artwork\"><span>AR00291</span></a>), in which graffiti artist Keith Haring is shown decorating Jones’s body with his signature markings. During the 1980s Warhol made just over five hundred stitched photographs, as well as an edition of 120 smaller sewn pieces depicting skeletons that were produced for <i>Parkett</i> magazine in 1987. Each of these works consists of a number of identical photographic prints (four, six, nine or twelve) that were stitched together using a machine. Almost all the sewing for these works was carried out by Warhol’s assistant Michele Loud, a former fashion student. Warhol’s stitched photographs depict a wide range of subjects including signs, objects, celebrities, nude models and buildings.</p>\n<p>Having started her career as a successful runway model, Jones began recording music in the late 1970s. Her albums include <i>Warm Leatherette</i> (1980), <i>Nightclubbing</i> (1981), <i>Living My Life</i> (1982) and <i>Slave to the Rhythm</i> (1985). In collaboration with the graphic designer and illustrator Jean-Paul Goude, Jones created a striking self-image, which included a bold flat-top haircut, angular make-up, outlandish costumes, a marked androgyny. She has also acted in a number of films, including <i>Conan the Destroyer</i> (1984), <i>A View to a Kill</i> (1985), and <i>Vamp</i> (1986). Jones’s fame arguably peaked around the mid-1980s at the time when Warhol created his stitched photographs of her.</p>\n<p>Jones features in several different works by Warhol. The photograph which forms the basis of this work was taken on 23 July 1984. Warhol recounts taking the image in his diaries:</p>\n<p class=\"cttext\">\n</p><blockquote>Went down to meet Grace Jones at the office and we waited for three hours. Benjamin went out and made calls and finally tracked her down at Bergdorf’s getting a fur coat out of the Revillon cooler. She spends all her money on fur coats. She says it’s all she cares about, and that she doesn’t care about money, just furs ... She buys them and stores them all in the cooler. I was taking pictures of Grace for <i>Vogue</i>, and we were interviewing her for the cover of <i>Interview</i>. But anyway, she was really late, and we were putting her down for hours and then suddenly she appeared and it was all, ‘Oh darling!’</blockquote>\n<blockquote>(Warhol 1992, p.743.)</blockquote>\n<p>Warhol took other photographs of Jones during the 1980s, as well as producing screenprints of her. The artist and singer also socialised together: photographer Ronald Galella took a picture of the two of them together at Studio 54 in 1978 attending a party for the premiere of the film <i>Grease</i>. In his diaries, Warhol recalls how he and Jones rented a plane and flew together to the wedding of Arnold Schwarzenegger and Maria Shriver in April 1986.</p>\n<p>This stitched photograph of Grace Jones can be compared to Warhol’s screenprints in which an image of a celebrity (for example Elvis Presley, Marilyn Monroe, or Jackie Kennedy) is reproduced identically, or nearly identically, multiple times, often in a grid format. However, Warhol’s screenprints of stars made in the 1960s, such as <i>Marilyn Diptych</i> 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/warhol-marilyn-diptych-t03093\" title=\"View the details of this artwork\"><span>T03093</span></a>), were made using found and appropriated images, whereas his comparable works from the 1980s – including screenprints and stitched photographs – were based on photographs taken by the artist himself.</p>\n<p>A colour Polaroid photograph of Jones wearing exactly the same clothes as in this stitched work was published in Vincent Fremont’s book of Warhol’s Polaroids.</p>\n<p>\n<b>Further reading</b>\n<br/>Vincent Fremont, <i>Andy Warhol Polaroids 1971–1986</i>, New York 1992.<br/>Andy Warhol, <i>The Andy Warhol Diaries</i>, ed. by Pat Hackett, London 1992.<br/>William V. Ganis, <i>Andy Warhol’s Serial Photography</i>, Cambridge 2004.</p>\n<p>Glyn Davis<br/>The University of Edinburgh<br/>February 2013</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS</i>.</p>\n</div>\n",
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"content": "<div class=\"text\">\n<p>This work consists of six identical black and white photographic prints stitched together with thread into a grid of three rows of two. Trails of thread are left hanging at the ends of the joins of the images. The photograph depicts a close-up section of the dashboard of a taxicab taken from inside the vehicle. This section of dashboard, which is illuminated by the flash of the camera, occupies the lower half of the image, above which is the windscreen through which five white lights can be seen as indistinct spots against the dark night sky along with several others of a less intense brightness. On the dashboard, below the small rectangular fare meter, a hand-written sign reads: ‘Cough: Driver has a nice sugar-free cough drop for you… Sneeze: Kleenex is right behind you…’. To the right of this sign is the driver’s licence, which includes an identification photograph and the driver’s name, Robert A. Dinu, and number, 202761.</p>\n<p>Between 1982 and 1987 Andy Warhol made over five hundred unique stitched photograph works each comprising several prints of the same image arranged into a grid. The images used as the basis for the stitched photographs were all taken by Warhol, who took photographs almost every day from 1976 onwards using several 35 mm cameras. When he began making the stitched photograph works, Warhol selected images from among the thousands he had amassed. The stitched photograph works feature a broad array of subjects including pictures of celebrities, objects, and monuments. <i>Cough</i> is one of a number of these works featuring signs, which range from the handwritten, such as <i>I Am Blind</i> 1986 (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-i-am-blind-ar00289\" title=\"View the details of this artwork\"><span>AR00289</span></a>), to the more formal or commercial, such as <i>Sunday Brunch</i> 1986 (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-sunday-brunch-ar00295\" title=\"View the details of this artwork\"><span>AR00295</span></a>).</p>\n<p>The apparent focus of this work according to its title is the ‘Cough’ sign which indicates the driver’s concern for health and maintaining a sanitary environment. It is well documented that Warhol suffered from hypochondria and so it is likely that he would have empathised with and appreciated the driver’s attempt to keep his car free from germs. Warhol experienced periods of illness as a child that significantly affected his later health:</p>\n<p class=\"cttext\">\n</p><blockquote>I had had three nervous breakdowns when I was a child, spaced a year apart. One when I was eight, one at nine, and one at ten. The attacks – St Vitus’ Dance – always started on the first day of summer vacation. I don’t know what this meant. I would spend all summer listening to the radio and lying in bed.</blockquote>\n<blockquote>(Warhol 1977, p.21.)</blockquote>\n<p>Throughout his adult life the artist frequently expressed concern about his skin and body, or about the risk of infection. Occasionally these fears manifested themselves in his art. For instance, the 1961 painting <i>Where Is Your Rupture?</i>, which was based on a plastic surgeon’s advertisement, depicts a basic outline of the female body from neck to hips, penetrated by several numbered arrows. Warhol’s hypochondria also seems to underpin the series of <i>Tunafish Disaster</i> paintings made in 1963, each of which was based on a page from <i>Newsweek</i> detailing the story of two housewives from a Detroit suburb who were killed by botulism contracted from a can of contaminated tuna.</p>\n<p>\n<b>Further reading</b>\n<br/>Andy Warhol, <i>THE Philosophy of Andy Warhol (From A to B and Back Again)</i>, New York 1977.<br/>Brian Dillon, ‘Andy Warhol’s Magic Disease’, in <i>Tormented Hope: Nine Hypochondriac Lives</i>, New York 2010, pp.236–66.</p>\n<p>Glyn Davis<br/>University of Edinburgh<br/>June 2013</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS</i>.</p>\n</div>\n",
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"content": "<div class=\"text\">\n<p>\n<i>Cadaver</i> consists of six identical black and white photographs of a medical examination in progress, which have been sewn together with thread into a two by three grid. In the photograph a bearded man wearing a white lab coat and white gloves raises a limb of a corpse that appears to be stripped of skin and possibly decomposing; strips of what looks like flesh dangle around his fingers. Two female figures, possibly students, stand to the right of the man, behind the corpse, and observe the examination, although one of them appears to be averting her gaze. The multiple reproduction of the photograph draws attention to its composition and to its patterning of dark and light areas, as well as to the strong diagonal slice made by the raised limb.</p>\n<p>Between 1982 and 1987 Andy Warhol produced several hundred works each comprising several identical photographs stitched together with thread. At the edges of the work excess thread is left hanging, which along with the buckling and scuffing of the photographs caused by feeding them through a sewing machine gives them a sculptural quality. The subject matter of the photographs used for the stitched works varies considerably, from portraits to signs to still lifes. There are a number of stitched photographs by Warhol in the ARTIST ROOMS collection. <i>Cadaver</i> might be compared to <i>Dissection Class </i>1986 (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-dissection-class-ar00288\" title=\"View the details of this artwork\"><span>AR00288</span></a>) in that both works feature images of death and can be seen to produce an abstract pattern through repetition.</p>\n<p>According to art historian William Ganis, Warhol ‘appropriated the stitched photograph concept from his friend, studio assistant, and traveling companion, Christopher Makos’ (Ganis 2004, p.23). Makos had been sewing together his own photographs since 1976. In 1982 Warhol purchased a Bernina sewing machine. Makos recruited his friend Michele Loud to work on Warhol’s stitched pieces as an assistant: she was responsible for sewing together most of the photographs. The exhibition <i>Andy Warhol Photographs</i> at New York’s Robert Miller Gallery in January 1987 showcased a selection of pieces from the series for the first time. The show was praised by critics, and ninety-eight of the stitched works were sold. Enthused by this success, Warhol continued to make sewn photographs until his death a month later.</p>\n<p>In that it presents multiple reproductions of an identical image of death, <i>Cadaver</i> may be compared to Warhol’s 1960s <i>Death and Disaster</i> series of screenprints. The <i>Death and Disaster</i> series included images of car crashes, atomic bomb explosions, electric chairs and suicides. In the 1980s, while working on the stitched photographs, Warhol produced a number of screenprints which seemed to make reference to the earlier <i>Death and Disaster</i> series, including numerous works depicting guns. Around the same time he also created screenprints of anatomical illustrations. What distinguishes these screenprinted works from <i>Cadaver</i>, however, is that the screenprints were made using found and appropriated imagery whereas the photograph reproduced in <i>Cadaver</i> was taken by Warhol himself.</p>\n<p>\n<b>Further reading</b>\n<br/>John Richardson and John F. Stuckley, <i>Andy Warhol: Heaven and Hell Are Just One Breath Away – Late Paintings and Related Works, 1984–86</i>, New York 1992.<br/>William V. Ganis, <i>Andy Warhol’s Serial Photography</i>, Cambridge 2004.</p>\n<p>Glyn Davis<br/>The University of Edinburgh<br/>February 2013</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS</i>.</p>\n</div>\n",
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frame: 792 × 779 × 26 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<div class=\"text\">\n<p>This work consists of four identical black and white photographs stitched together with thread into a two by two grid. Trails of thread are left hanging at the ends of the joins of the images. The photograph depicts a printed sign for ‘Sunday Brunch’, framed and hung from a wooden beam above an area covered in dark shadow. The sign indicates that at this diner or restaurant Sunday brunch costs $7.95 and includes ‘ribs, eggs, grits, hot biscuits, champagne, mimosa, Bloody Mary, Western dance instruction...’. The photograph was shot at an angle so that the sign and brickwork do not appear straight but lean downwards to the right. In the bottom left of the photograph, in the obscured area, the word ‘Open’ suggests that underneath the sign is an entrance, although a door cannot be seen.</p>\n<p>Between 1982 and 1987 Andy Warhol made over five hundred unique stitched photograph works each comprising several prints of the same image arranged into a grid. The images used as the basis for the stitched photographs were all taken by Warhol, who took photographs almost every day from 1976 onwards using several 35 mm cameras. When he began making the stitched photograph works, Warhol selected images from among the thousands he had amassed. The stitched photograph works feature a broad array of subjects including pictures of still lifes, celebrities, buildings and monuments. <i>Sunday Brunch</i> is one of a number of Warhol’s stitched photograph works featuring signs, which range from the handwritten, such as <i>Cough</i> 1986 (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-cough-ar00292\" title=\"View the details of this artwork\"><span>AR00292</span></a>), to the more formal or commercial, such as <i>No Parking</i> 1986 (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-no-parking-ar00296\" title=\"View the details of this artwork\"><span>AR00296</span></a>).</p>\n<p>Food is a recurrent subject in the work of Andy Warhol. His early illustration work includes images such as <i>Ice Cream Dessert</i> 1959 (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-ice-cream-dessert-ar00255\" title=\"View the details of this artwork\"><span>AR00255</span></a>) while the artist is perhaps best known for his screenprints of cheap and basic food items including Campbell’s soup cans and bottles of Coca Cola. In addition to producing the <i>Velvet Underground and Nico</i> album (1967), he also created its cover art: an image of a banana that, on the original vinyl pressing, could be ‘peeled’. He continued to produce images of food and drink throughout the latter years of his career, for instance, his <i>Perrier</i> screenprints (such as 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-perrier-ar00405\" title=\"View the details of this artwork\"><span>AR00405</span></a>, made in 1983), or his paintings based on signs, including <i>Hamburger</i> 1985–6 (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-hamburger-ar00233\" title=\"View the details of this artwork\"><span>AR00233</span></a>). Warhol’s own favourite food was candy. As Warhol’s biographer Wayne Koestenbaum writes:</p>\n<p class=\"cttext\">\n</p><blockquote>his mother gave him candy bars as reward for every page completed in a colouring book. As an adult, he continued to dote on sweets. Tom Wolfe reports Andy refusing food at society dinner parties and declaring, “Oh, I only eat candy”; after he was shot in 1968, and could, for a time, only tolerate liquids, he would retreat to the restaurant Serendipity 3 on East Sixtieth Street and nurse a Frozen Hot Chocolate.</blockquote>\n<blockquote>(Koestenbaum 2001, p.17.)</blockquote>\n<p>Warhol’s intention in making this particular work is not known. As art historian William Ganis notes, many of the images selected by Warhol and his assistant Christopher Makos for the stitched photograph works were chosen primarily for their formal, graphic qualities (Ganis 2004, pp.26–7). The repetition of the photograph in this work might be said to reflect the ubiquity of the American diner, the widespread availability of basic food staples across the United States, or even the repetitive nature of working in a diner. The appeal to Warhol may have been in the mixture of somewhat incongruous elements: food, alcohol, and the oddly specific ‘Western dance instruction’. Alternatively, this work could be said to relate to Warhol’s fascination with money: his confounding of the distinction between art and business, his numerous works that feature currency or include prices as part of their content, and his routine documenting in his diaries of his daily expenditures.</p>\n<p>\n<b>Further reading</b>\n<br/>Pat Hackett (ed.), <i>The Andy Warhol Diaries</i>, London 1989.<br/>Wayne Koestenbaum, <i>Andy Warhol</i>, London 2001.<br/>William V. Ganis, <i>Andy Warhol’s Serial Photography</i>, Cambridge 2004.</p>\n<p>Glyn Davis<br/>University of Edinburgh<br/>December 2013</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS</i>.</p>\n</div>\n",
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"content": "<div class=\"text\">\n<p>\n<i>Trash Cans</i> consists of four identical black and white photographs of a metal mesh pavement bin, which have been stitched together with white thread into a two by two grid. Excess thread is left trailing at the joins, giving the piece a three-dimensional quality. In the photograph the trash can is positioned on a sidewalk; the flagstone on which it sits is stained with a dark liquid that has run from the bottom of the bin. The back bumper of a car on the adjacent road is visible in the top left of the frame. Various horizontal lines structure the image: the edge of the sidewalk near the centre, a road marking towards the top, and (less evenly) scuff marks on the road’s tarmac. These are offset by oblique vertical lines: the rear of the car, the edges and seam of the bin, and the indentation between two flagstones.</p>\n<p>\n<i>Trash Cans</i> is one of a number of stitched photograph works by Warhol in the ARTIST ROOMS collection. Between 1982 and 1987 Warhol made over five hundred stitched photographs, as well as an edition of 120 smaller sewn works that were produced for <i>Parkett</i> magazine in 1987. Each of these works consists of several identical photographic prints (four, six, nine or twelve) that were sewn together using a machine. Almost all of the sewing for these works was carried out by Warhol’s assistant Michele Loud, a former fashion student. According to art historian William Ganis, Warhol ‘appropriated the stitched photograph concept from his friend, studio assistant, and traveling companion, Christopher Makos’ (Ganis 2004, p.23). Makos had been sewing together his own photographs since 1976. In 1982 Warhol purchased a Bernina sewing machine and Makos recruited Loud, who was a friend of his, to work on these stitched pieces.</p>\n<p>Warhol acquired a Minox 35EL camera in 1976 and for the next twelve years, utilising a range of 35 mm cameras, took photographs almost every day. According to the writer Bob Colacello, who edited Warhol’s <i>Interview</i> magazine in the 1970s and 1980s, the artist ‘shot at least one roll of Kodak Plus-X or higher speed TRI-X black and white film every day. (Colour, he said, was “too expensive”.) At 36 frames per roll, it added up to over 13,000 images a year, and over 150,000 images in the 12 years between 1976 and 1987’ (Colacello 1992, p.16).</p>\n<p>Warhol’s stitched photographs depict a wide range of subjects including signs, objects, celebrities, nude models and buildings. <i>Trash Cans</i> is one of many that focus on everyday and ordinary objects and can be related to some of Warhol’s best-known pop works, in which common objects and consumer goods (for example Brillo boxes, Coca-Cola bottles, and Campbell’s soup cans) are isolated from their everyday context so as to foreground their individual aesthetic value. Many of Warhol’s pop works are also composed of repetitious images, for example his screenprints in which identical images are repeated numerous times across a canvas, such as <i>Marilyn Diptych</i> 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/warhol-marilyn-diptych-t03093\" title=\"View the details of this artwork\"><span>T03093</span></a>). It is thus useful to compare <i>Trash Cans</i> with Warhol’s screenprints featuring multiple images of Campbell’s soup cans – especially given the similarities between the shapes of the different receptacles.</p>\n<p>The multiple reproduction of the photographs serves to draw attention to the image’s composition and to its patterning of patches of light and shade. Ganis has reflected on the series of stitched works as a whole:</p>\n<p class=\"cttext\">\n</p><blockquote>these photographs level all subjects, even those containing language, to formally dynamic lines and areas of light and dark. In these works, the viewer is faced with a ‘truth’ that photographs are formal objects beyond being visual records that contain legible meaning.</blockquote>\n<blockquote>(Ganis 2004, p.22.)</blockquote>\n<p>\n<b>Further reading</b>\n<br/>Bob Colacello, ‘Paparazziism: Or How Andy Warhol Became a Real Photographer’, in Karl Steinorth and Thomas Buchsteiner (eds.), <i>Andy Warhol: Social Disease Photographs ’76–’79</i>, Tübingen 1992.<br/>William V. Ganis, <i>Andy Warhol’s Serial Photography</i>, Cambridge 2004.</p>\n<p>Glyn Davis<br/>The University of Edinburgh<br/>February 2013</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS</i>.</p>\n</div>\n",
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] | Liz | 1,965 | ARTIST ROOMS Tate and National Galleries of Scotland | 1965 | CLEARED | 4 | support: 635 × 708 mm
frame: 700 × 777 × 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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"content": "<div class=\"text\">\n<p>This exhibition poster features the portrait of the hugely successful actress, Elizabeth Taylor. Warhol first painted her portrait in 1963 when she was at the height of her career. Yet she was also severely ill with pneumonia. This highlights Warhol’s fascination with celebrity and death that began with his painting of Marilyn Monroe following her suicide in 1962 and continued throughout his oeuvre. In this portrait Warhol used a publicity photograph for Taylor’s film ‘Butterfield 8’ as the basis for the screenprint. It is typical of his 1960s Pop style with vibrant, flat blocks of colour. This poster was made for an exhibition held in 1965, the same year Warhol famously announced that he was ‘retiring’ from painting.</p>\n</div>\n",
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Screenprint on paper | [
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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 | AR00322 | {
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{
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],
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{
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{
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] | Andy Warhol’s PORK | 1,971 | ARTIST ROOMS Tate and National Galleries of Scotland | 1971 | CLEARED | 4 | support: 764 × 510 mm
frame: 830 × 578 × 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 | [] | [] | null | false | 6928 13610 118 166 58 195 53 9328 20114 4896 9326 174 20116 3180 14979 | false | artwork |
||||||||||||||
Lithograph on paper | [
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"id": 4,
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] | Conspiracy Means to Breathe Together | 1,969 | ARTIST ROOMS Tate and National Galleries of Scotland | 1969 | CLEARED | 4 | support: 860 × 558 mm
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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 | 6928 15959 166 287 9328 4896 9326 174 1811 | false | artwork |
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Screenprint on paper | [
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} | 7013927 7013272 7007710 7012149 7007567 1002551 7007568 | Andy Warhol | 1,966 | [] | false | 1 | 2121 | paper print screenprint | [
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{
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"endDate": "2021-10-24",
"id": 12779,
"startDate": "2021-07-17",
"venueName": "Art Gallery of Ontario (Toronto, Canada)",
"venueWebsiteUrl": "http://www.ago.net"
},
{
"dateText": "3 December 2021 – 27 March 2022",
"endDate": "2022-03-27",
"id": 14414,
"startDate": "2021-12-03",
"venueName": "Aspen Art Museum (Aspen, USA)",
"venueWebsiteUrl": "http://www.aspenartmuseum.org"
}
],
"id": 10542,
"startDate": "2020-12-12",
"title": "Warhol 2020",
"type": "Loan-out"
}
] | Steve Paul’s THE SCENE Poster | 1,966 | ARTIST ROOMS Tate and National Galleries of Scotland | 1966 | CLEARED | 4 | support: 556 × 355 mm
frame: 626 × 423 × 38mm confirmed | 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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"content": "<p>With projects such as his ‘Exploding Plastic Inevitable’ (a series of multimedia events held between 1966 and 1967), Warhol was hugely involved with New York’s social life. “Pretty notorious around town for being at every party” he famously commented “I have a social disease. I have to go out every night”. ‘Steve Paul’s The Scene’ was a trendy nightclub and live music venue in the heart of Manhattan during the late 1960s. Warhol first visited it in August 1965 but this poster is almost certainly advertising the line-up for January 1967. It features the stars of Warhol’s hugely successful film ‘Chelsea Girls’ which was released the previous September and the band The Velvet Underground, which Warhol had managed since 1965.</p>\n",
"display_name": "Online caption",
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"slug_name": "online-caption",
"type": "ONLINE_CAPTION"
}
] | [] | null | false | 6928 166 10065 53 42762 185 4896 9326 174 445 1811 | false | artwork |
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Lithograph on paper | [
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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 | AR00325 | {
"id": 4,
"meta": {
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} | 437 | 7013927 7013272 7007710 7012149 7007567 1002551 7007568 | Andy Warhol | 1,967 | [] | false | 1 | 2121 | paper print lithograph | [
{
"artistRoomsTour": true,
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{
"dateText": "28 March 2009 – 21 September 2009",
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],
"id": 4098,
"startDate": "2009-03-28",
"title": "ARTIST ROOMS 2009: Andy Warhol",
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},
{
"artistRoomsTour": true,
"dateText": "27 March 2011 – 26 June 2011",
"endDate": "2011-06-26",
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{
"dateText": "27 March 2011 – 26 June 2011",
"endDate": "2011-06-26",
"id": 6079,
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"venueName": "Southampton City Art Gallery (Southampton, UK)",
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}
],
"id": 4987,
"startDate": "2011-03-27",
"title": "ARTIST ROOMS 2011: Andy Warhol",
"type": "Loan-out"
},
{
"artistRoomsTour": true,
"dateText": "24 September 2011 – 26 February 2012",
"endDate": "2012-02-26",
"exhibitionLegs": [
{
"dateText": "24 September 2011 – 26 February 2012",
"endDate": "2012-02-26",
"id": 6172,
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"venueName": "De La Warr Pavilion (Bexhill on Sea, UK)",
"venueWebsiteUrl": "http://www.dlwp.com/"
}
],
"id": 5042,
"startDate": "2011-09-24",
"title": "ARTIST ROOMS 2011: Andy Warhol",
"type": "Loan-out"
},
{
"artistRoomsTour": true,
"dateText": "2 June 2012 – 13 January 2013",
"endDate": "2013-01-13",
"exhibitionLegs": [
{
"dateText": "2 June 2012 – 13 January 2013",
"endDate": "2013-01-13",
"id": 6912,
"startDate": "2012-06-02",
"venueName": "Ferens Art Gallery (Hull, UK)",
"venueWebsiteUrl": "http://www.hullcc.gov.uk/museumcollections"
}
],
"id": 5635,
"startDate": "2012-06-02",
"title": "ARTIST ROOMS 2012: Warhol",
"type": "Loan-out"
},
{
"artistRoomsTour": true,
"dateText": "8 February 2013 – 28 April 2013",
"endDate": "2013-04-28",
"exhibitionLegs": [
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"dateText": "8 February 2013 – 28 April 2013",
"endDate": "2013-04-28",
"id": 7858,
"startDate": "2013-02-08",
"venueName": "The MAC: Metropolitan Arts Centre (Belfast, UK)",
"venueWebsiteUrl": null
}
],
"id": 6434,
"startDate": "2013-02-08",
"title": "ARTIST ROOMS 2013: Andy Warhol",
"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"
}
] | Chelsea Girls | 1,967 | ARTIST ROOMS Tate and National Galleries of Scotland | 1967 | CLEARED | 4 | support: 762 × 510 mm
frame: 826 × 580 × 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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"content": "<p>Throughout his career Warhol made numerous films, many of which were experimental and pushed the boundaries of what was considered acceptable in cinema. ‘Chelsea Girls’, however, was the art-house film which stepped into the mainstream with incredible success. It consists of twelve reels of unedited conversations and monologues with Warhol’s ‘superstars’ captured for the most part at New York’s famous Chelsea Hotel. The film was then projected two reels at a time, combining separate, often contrasting, stories. With its creativity and eroticism this poster captures the essence of the film. It was designed for the release of the movie in London by graphic artist Alan Aldridge. Warhol was extremely happy with the design and commented that he “wished the movie was as good as the poster”.</p>\n",
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Lithograph on paper | [
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] | 1,974 | <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> | Man Ray | 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 | AR00326 | {
"id": 4,
"meta": {
"type": "art.Classification"
}
} | 437 | 7013927 7013272 7007710 7012149 7007567 1002551 7007568 | Andy Warhol | 1,974 | [] | <p>This poster is for an exhibition of Warhol’s work in 1974 at the Galleria Il Fauno in Milan. It features a portrait of the American photographer and Dada artist, Man Ray. In the early 1970s Warhol began to accept regular commissions to paint the portraits of the rich and famous. However, as well as commissions, he also painted a number of portraits of people he admired, especially other artists. Man Ray was one of his heroes, so much so that, when he could afford it, Warhol acquired a number of his photographs, paintings and early books. This image is based on a Polaroid photograph he took of him, cigar in mouth, in 1973. As with the portraits of his mother and other people he felt close to, these portraits of Man Ray are among the most painterly and heavily-worked Warhol ever painted</p> | false | 1 | 2121 | paper print lithograph | [
{
"artistRoomsTour": true,
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],
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}
],
"id": 4987,
"startDate": "2011-03-27",
"title": "ARTIST ROOMS 2011: Andy Warhol",
"type": "Loan-out"
},
{
"artistRoomsTour": true,
"dateText": "2 June 2012 – 13 January 2013",
"endDate": "2013-01-13",
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{
"dateText": "2 June 2012 – 13 January 2013",
"endDate": "2013-01-13",
"id": 6912,
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"venueWebsiteUrl": "http://www.hullcc.gov.uk/museumcollections"
}
],
"id": 5635,
"startDate": "2012-06-02",
"title": "ARTIST ROOMS 2012: Warhol",
"type": "Loan-out"
},
{
"artistRoomsTour": true,
"dateText": "8 February 2013 – 28 April 2013",
"endDate": "2013-04-28",
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"dateText": "8 February 2013 – 28 April 2013",
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}
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"id": 6434,
"startDate": "2013-02-08",
"title": "ARTIST ROOMS 2013: Andy Warhol",
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},
{
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"dateText": "10 June 2017 – 2 September 2017",
"endDate": "2017-09-02",
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{
"dateText": "10 June 2017 – 2 September 2017",
"endDate": "2017-09-02",
"id": 11191,
"startDate": "2017-06-10",
"venueName": "Burgh Hall (Dunoon, UK)",
"venueWebsiteUrl": null
}
],
"id": 9210,
"startDate": "2017-06-10",
"title": "ARTIST ROOMS 2017: Andy Warhol",
"type": "Loan-out"
}
] | Man Ray | 1,974 | ARTIST ROOMS Tate and National Galleries of Scotland | 1974 | CLEARED | 4 | support: 998 × 688 mm
frame: 1080 × 778 × 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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"slug_name": "online-caption",
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Lithograph on paper | [
{
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{
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{
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{
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},
{
"id": 999999968,
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},
{
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}
] | 1,967 | <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> | Andy Warhol Paul Morrissey and Viva | 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 | AR00327 | {
"id": 4,
"meta": {
"type": "art.Classification"
}
} | 7013927 7013272 7007710 7012149 7007567 1002551 7007568 | Andy Warhol | 1,967 | [] | false | 1 | 2121 | paper print lithograph | [
{
"artistRoomsTour": true,
"dateText": "28 March 2009 – 21 September 2009",
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"venueWebsiteUrl": "http://www.wolverhamptonart.org.uk"
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],
"id": 4098,
"startDate": "2009-03-28",
"title": "ARTIST ROOMS 2009: Andy Warhol",
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{
"artistRoomsTour": true,
"dateText": "17 April 2010 – 23 October 2010",
"endDate": "2010-10-23",
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{
"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": true,
"dateText": "27 March 2011 – 26 June 2011",
"endDate": "2011-06-26",
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}
],
"id": 4987,
"startDate": "2011-03-27",
"title": "ARTIST ROOMS 2011: Andy Warhol",
"type": "Loan-out"
},
{
"artistRoomsTour": true,
"dateText": "24 September 2011 – 26 February 2012",
"endDate": "2012-02-26",
"exhibitionLegs": [
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"endDate": "2012-02-26",
"id": 6172,
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],
"id": 5042,
"startDate": "2011-09-24",
"title": "ARTIST ROOMS 2011: Andy Warhol",
"type": "Loan-out"
},
{
"artistRoomsTour": true,
"dateText": "2 June 2012 – 13 January 2013",
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],
"id": 5635,
"startDate": "2012-06-02",
"title": "ARTIST ROOMS 2012: Warhol",
"type": "Loan-out"
}
] | Andy Warhol Paul Morrissey and Viva! | 1,967 | ARTIST ROOMS Tate and National Galleries of Scotland | c.1967 | CLEARED | 4 | support: 599 × 388 mm
frame: 665 × 456 × 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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"content": "<p>**** (Four Stars) was a twenty-five hour film that Warhol made in 1966-7. It is compiled from over eighty shorter segments that were combined and projected from two projectors onto a single screen. The full film was only ever shown once but many of the sections were later released as films in their own right. This poster is advertising a ninety minute segment to be shown at the University of St. Thomas. It was followed by a discussion that included Warhol, Paul Morrissey (who directed many of Warhol’s movies), and Viva (a Warhol Superstar who featured in the film).</p>\n",
"display_name": "Online caption",
"publication_date": "2009-04-16T00:00:00",
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}
] | [] | null | false | 93 5483 88 149 615 166 16829 195 53 9328 4896 9326 174 11117 1811 | false | artwork |
|||||||||||||||
Screenprint on paper | [
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}
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{
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{
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{
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{
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{
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] | 1,966 | <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> | Andy Warhols Chelsea Girls | 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 | AR00328 | {
"id": 4,
"meta": {
"type": "art.Classification"
}
} | 7013927 7013272 7007710 7012149 7007567 1002551 7007568 | Andy Warhol | 1,966 | [] | false | 1 | 2121 | paper print screenprint | [
{
"artistRoomsTour": true,
"dateText": "28 March 2009 – 21 September 2009",
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"startDate": "2009-03-28",
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],
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"startDate": "2012-06-02",
"title": "ARTIST ROOMS 2012: Warhol",
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},
{
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"dateText": "19 March 2016 – 12 June 2016",
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"id": 8644,
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] | Andy Warhol’s ‘The Chelsea Girls’ | 1,966 | ARTIST ROOMS Tate and National Galleries of Scotland | 1966 | CLEARED | 4 | support: 744 × 574 mm
frame: 810 × 640 × 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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"content": "<p>Throughout his career Warhol made numerous films, many of which were experimental and pushed the boundaries of what was considered acceptable in cinema. ‘Chelsea Girls’ however, was the art-house film which stepped into the mainstream with incredible success. It consists of twelve reels of unedited conversations and monologues with Warhol’s ‘superstars’ captured for the most part at New York’s famous Chelsea Hotel. The film was then projected two reels at a time, combining separate, often contrasting stories. This poster is an example of the effective use of Warhol’s celebrity as a tool to help promote the film. It is branded as ‘Andy Warhol’s The Chelsea Girls’, with a stylised image of him instantly recognisable in the design.</p>\n",
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] | Andy Warhol’s Frankenstein | 1,974 | ARTIST ROOMS Tate and National Galleries of Scotland | 1974 | CLEARED | 4 | support: 1042 × 688 mm
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"content": "<p>Throughout his career Warhol made numerous films, many of which were experimental and pushed the boundaries of what was considered acceptable in cinema. In 1973 Warhol and Paul Morrissey collaborated on two Italian-produced horror films – ‘Frankenstein’ and ‘Dracula’. These films were violent and sexually explicit versions of the nineteenth-century classic novels. In 1968 Warhol was shot and critically injured and the extensive surgery he required left him badly scarred. In 'Frankenstein', with its graphic shots of disfigured bodies, Warhol can be seen as confronting his own body’s mutilation. Despite generally unflattering reviews, it was a remarkable success following its 1974 release.</p>\n",
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"id": 4,
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] | Russell Means | 1,977 | ARTIST ROOMS Tate and National Galleries of Scotland | 1977 | CLEARED | 4 | support: 1276 × 890 mm
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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 | 6928 51 18725 93 152 179 17464 10639 615 1902 166 195 7332 18106 9328 4896 9326 174 1811 17737 | false | artwork |
||||||||||||||
Lithograph on paper | [
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],
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] | Mao | 1,977 | ARTIST ROOMS Tate and National Galleries of Scotland | 1977 | CLEARED | 4 | support: 940 × 610 mm
frame: 1020 × 690 × 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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"content": "<p>Warhol showed a great deal of interest in the Chinese political situation in 1971: “I have been reading so much about China. They’re so nutty. They don’t believe in creativity. The only picture they ever have is of Mao Zedong. It’s great. It looks like a silkscreen”. The following year he created a portrait of the communist leader based on a photograph from his famous Little Red Book – ‘The thoughts of Chairman Mao’. Like many of his 1970s portraits, Warhol’s Mao paintings are much more painterly than his Pop works of the 1960s with strong, colourful brushwork clearly visible. This poster is for a Warhol exhibition at the Hokin Gallery, Chicago. The show opened in 1977, the year the Cultural Revolution in China officially ended following Mao’s death in 1976.</p>\n",
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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 | AR00332 | {
"id": 4,
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} | 7013927 7013272 7007710 7012149 7007567 1002551 7007568 | Andy Warhol | 1,978 | [] | false | 1 | 2121 | paper print lithograph | [
{
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"id": 5042,
"startDate": "2011-09-24",
"title": "ARTIST ROOMS 2011: Andy Warhol",
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{
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"id": 5635,
"startDate": "2012-06-02",
"title": "ARTIST ROOMS 2012: Warhol",
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{
"artistRoomsTour": true,
"dateText": "8 February 2013 – 28 April 2013",
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"startDate": "2013-02-08",
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] | Andy Warhol’s Lonesome Cowboys | 1,978 | ARTIST ROOMS Tate and National Galleries of Scotland | 1978 | CLEARED | 4 | support: 836 × 592 mm
frame: 920 × 675 × 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 | [] | [] | null | false | 1662 6928 118 5483 88 17686 10058 17691 3419 20118 166 195 53 499 9328 20114 4896 9326 174 | false | artwork |
|||||||||||||||
Lithograph on paper | [
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"id": 4,
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} | 7013927 7013272 7007710 7012149 7007567 1002551 7007568 | Andy Warhol | 1,982 | [] | false | 1 | 2121 | paper print lithograph | [
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{
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}
],
"id": 5633,
"startDate": "2012-04-11",
"title": "ARTIST ROOMS 2012: Warhol Self Portraits",
"type": "Loan-out"
},
{
"artistRoomsTour": false,
"dateText": "18 February 2016 – 12 June 2016",
"endDate": "2016-06-12",
"exhibitionLegs": [
{
"dateText": "18 February 2016 – 12 June 2016",
"endDate": "2016-06-12",
"id": 9798,
"startDate": "2016-02-18",
"venueName": "Tate Modern (London, UK)",
"venueWebsiteUrl": "http://www.tate.org.uk/modern/"
}
],
"id": 8064,
"startDate": "2016-02-18",
"title": "Performing for the Camera",
"type": "Exhibition"
}
] | Andy Warhol | 1,982 | ARTIST ROOMS Tate and National Galleries of Scotland | 1982 | CLEARED | 4 | support: 738 × 509 mm
frame: 807 × 575 × 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 | [] | [] | null | false | 177 6928 51 18725 81 17464 166 195 9328 20114 4896 9326 174 20116 712 3298 17914 14979 | false | artwork |
|||||||||||||||
Lithograph on paper | [
{
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}
] | 3,699 | [
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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 | AR00334 | {
"id": 4,
"meta": {
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} | 7013927 7013272 7007710 7012149 7007567 1002551 7007568 | Andy Warhol | 1,978 | [] | false | 1 | 2121 | paper print lithograph | [
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"id": 5042,
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}
] | Andy Warhol’s Lonesome Cowboys | 1,978 | ARTIST ROOMS Tate and National Galleries of Scotland | 1978 | CLEARED | 4 | support: 473 × 397 mm
frame: 540 × 363 × 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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"content": "<p>Throughout his career Warhol made numerous films, many of which were experimental and pushed the boundaries of what was considered acceptable in cinema. Filmed in Arizona in January 1968, ‘Lonesome Cowboys’ was the last film that Warhol directed himself. Originally conceived as a tongue-in-cheek version of the traditional Hollywood western, it was “supposed to be a Romeo-Juliet type story”. Yet it failed to deliver. Critical opinion was divided over many of Warhol’s films and although ‘Lonesome Cowboys’ featured several Warhol ‘superstars’ and followed his extremely popular 1966 film ‘Chelsea Girls’, it is generally considered one of his least successful works. It is particularly renowned for a violent scene which resulted in Warhol being put under FBI surveillance for a year.</p>\n",
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] | [] | null | false | 6928 93 5483 10058 17691 615 166 195 53 499 9328 4896 9326 174 | false | artwork |
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Screenprint on paper | [
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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 | AR00335 | {
"id": 4,
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} | 437 | 7013927 7013272 7007710 7012149 7007567 1002551 7007568 | Andy Warhol | 1,982 | [] | false | 1 | 2121 | paper print screenprint | [
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"startDate": "2011-09-24",
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{
"artistRoomsTour": true,
"dateText": "2 June 2012 – 13 January 2013",
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"startDate": "2012-06-02",
"title": "ARTIST ROOMS 2012: Warhol",
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{
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"endDate": "2016-06-12",
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{
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"endDate": "2017-09-02",
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"venueWebsiteUrl": null
}
],
"id": 9210,
"startDate": "2017-06-10",
"title": "ARTIST ROOMS 2017: Andy Warhol",
"type": "Loan-out"
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{
"artistRoomsTour": true,
"dateText": "15 March 2025 – 29 June 2025",
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"title": "Andy Warhol",
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] | Mickey Mouse | 1,982 | ARTIST ROOMS Tate and National Galleries of Scotland | 1982 | CLEARED | 4 | support: 842 × 594 mm
frame: 907 × 662 × 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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"content": "<p>This image of the Disney character Mickey Mouse belongs to a portfolio of ten screenprints called 'Myths' published in 1981. The series is based on characters from American Popular culture which have become icons, defining different generations. It includes the likes of Superman, Dracula, Santa Claus and Uncle Sam. All the prints are inlaid with diamond dust, a by-product of making of industrial-grade diamonds. It is sprinkled on to the ink whilst still wet, creating the effect of a shimmering surface, reminiscent of the gold leaf Warhol used in the late 1950s. Warhol also produced a series of paintings based on the Myth characters.</p>\n",
"display_name": "Online caption",
"publication_date": "2009-04-16T00:00:00",
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] | [] | null | false | 6928 51 18725 716 17464 10639 3561 18109 166 5122 499 4896 9326 174 17737 | false | artwork |
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Screenprint on paper | [
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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 | AR00336 | {
"id": 4,
"meta": {
"type": "art.Classification"
}
} | 437 | 7013927 7013272 7007710 7012149 7007567 1002551 7007568 | Andy Warhol | 1,983 | [] | false | 1 | 2121 | paper print screenprint | [
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{
"dateText": "27 March 2011 – 26 June 2011",
"endDate": "2011-06-26",
"id": 6079,
"startDate": "2011-03-27",
"venueName": "Southampton City Art Gallery (Southampton, UK)",
"venueWebsiteUrl": "http://www.southampton.gov.uk/leisure/arts"
}
],
"id": 4987,
"startDate": "2011-03-27",
"title": "ARTIST ROOMS 2011: Andy Warhol",
"type": "Loan-out"
},
{
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"dateText": "24 September 2011 – 26 February 2012",
"endDate": "2012-02-26",
"exhibitionLegs": [
{
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"endDate": "2012-02-26",
"id": 6172,
"startDate": "2011-09-24",
"venueName": "De La Warr Pavilion (Bexhill on Sea, UK)",
"venueWebsiteUrl": "http://www.dlwp.com/"
}
],
"id": 5042,
"startDate": "2011-09-24",
"title": "ARTIST ROOMS 2011: Andy Warhol",
"type": "Loan-out"
},
{
"artistRoomsTour": true,
"dateText": "2 June 2012 – 13 January 2013",
"endDate": "2013-01-13",
"exhibitionLegs": [
{
"dateText": "2 June 2012 – 13 January 2013",
"endDate": "2013-01-13",
"id": 6912,
"startDate": "2012-06-02",
"venueName": "Ferens Art Gallery (Hull, UK)",
"venueWebsiteUrl": "http://www.hullcc.gov.uk/museumcollections"
}
],
"id": 5635,
"startDate": "2012-06-02",
"title": "ARTIST ROOMS 2012: Warhol",
"type": "Loan-out"
},
{
"artistRoomsTour": true,
"dateText": "8 February 2013 – 28 April 2013",
"endDate": "2013-04-28",
"exhibitionLegs": [
{
"dateText": "8 February 2013 – 28 April 2013",
"endDate": "2013-04-28",
"id": 7858,
"startDate": "2013-02-08",
"venueName": "The MAC: Metropolitan Arts Centre (Belfast, UK)",
"venueWebsiteUrl": null
}
],
"id": 6434,
"startDate": "2013-02-08",
"title": "ARTIST ROOMS 2013: Andy Warhol",
"type": "Loan-out"
},
{
"artistRoomsTour": true,
"dateText": "19 March 2016 – 12 June 2016",
"endDate": "2016-06-12",
"exhibitionLegs": [
{
"dateText": "19 March 2016 – 12 June 2016",
"endDate": "2016-06-12",
"id": 10480,
"startDate": "2016-03-19",
"venueName": "Firstsite (Colchester, UK)",
"venueWebsiteUrl": "http://www.firstsite.uk.net/"
}
],
"id": 8644,
"startDate": "2016-03-19",
"title": "ARTIST ROOMS 2016: Andy Warhol",
"type": "Loan-out"
},
{
"artistRoomsTour": true,
"dateText": "10 June 2017 – 2 September 2017",
"endDate": "2017-09-02",
"exhibitionLegs": [
{
"dateText": "10 June 2017 – 2 September 2017",
"endDate": "2017-09-02",
"id": 11191,
"startDate": "2017-06-10",
"venueName": "Burgh Hall (Dunoon, UK)",
"venueWebsiteUrl": null
}
],
"id": 9210,
"startDate": "2017-06-10",
"title": "ARTIST ROOMS 2017: Andy Warhol",
"type": "Loan-out"
}
] | Marilyn Monroe | 1,983 | ARTIST ROOMS Tate and National Galleries of Scotland | 1983 | CLEARED | 4 | support: 759 × 518 mm
frame: 827 × 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 | [] | [] | null | false | 1662 118 93 6933 10639 615 20117 166 588 499 9328 20114 9024 17692 167 | false | artwork |
||||||||||||||
Lithograph on paper | [
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"role_display": "artist",
"url": "https://www.tate.org.uk/art/artists/andy-warhol-2121"
}
] | 3,702 | [
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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 | AR00337 | {
"id": 4,
"meta": {
"type": "art.Classification"
}
} | 7013927 7013272 7007710 7012149 7007567 1002551 7007568 | Andy Warhol | 1,985 | [] | false | 1 | 2121 | paper print lithograph | [
{
"artistRoomsTour": true,
"dateText": "28 March 2009 – 21 September 2009",
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{
"dateText": "28 March 2009 – 21 September 2009",
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],
"id": 4098,
"startDate": "2009-03-28",
"title": "ARTIST ROOMS 2009: Andy Warhol",
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{
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"dateText": "27 March 2011 – 26 June 2011",
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}
],
"id": 4987,
"startDate": "2011-03-27",
"title": "ARTIST ROOMS 2011: Andy Warhol",
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},
{
"artistRoomsTour": true,
"dateText": "24 September 2011 – 26 February 2012",
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{
"dateText": "24 September 2011 – 26 February 2012",
"endDate": "2012-02-26",
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],
"id": 5042,
"startDate": "2011-09-24",
"title": "ARTIST ROOMS 2011: Andy Warhol",
"type": "Loan-out"
},
{
"artistRoomsTour": true,
"dateText": "11 April 2012 – 1 December 2012",
"endDate": "2012-12-01",
"exhibitionLegs": [
{
"dateText": "11 April 2012 – 1 December 2012",
"endDate": "2012-12-01",
"id": 6910,
"startDate": "2012-04-11",
"venueName": "Graves Art Gallery (Sheffield, UK)",
"venueWebsiteUrl": "http://www.museums-sheffield.org.uk/coresite/html/graves.asp"
}
],
"id": 5633,
"startDate": "2012-04-11",
"title": "ARTIST ROOMS 2012: Warhol Self Portraits",
"type": "Loan-out"
},
{
"artistRoomsTour": false,
"dateText": "18 February 2016 – 12 June 2016",
"endDate": "2016-06-12",
"exhibitionLegs": [
{
"dateText": "18 February 2016 – 12 June 2016",
"endDate": "2016-06-12",
"id": 9798,
"startDate": "2016-02-18",
"venueName": "Tate Modern (London, UK)",
"venueWebsiteUrl": "http://www.tate.org.uk/modern/"
}
],
"id": 8064,
"startDate": "2016-02-18",
"title": "Performing for the Camera",
"type": "Exhibition"
}
] | JM Magazine | 1,985 | ARTIST ROOMS Tate and National Galleries of Scotland | c.1985 | CLEARED | 4 | support: 817 × 614 mm
frame: 887 × 682 × 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 | [] | [] | null | false | 177 13610 118 93 5110 88 615 166 275 195 9328 20114 9326 174 20116 14979 167 | false | artwork |
|||||||||||||||
Lithograph 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"
}
] | 3,703 | [
{
"id": 999999779,
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},
{
"id": 999999782,
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"id": 999999788,
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"id": 999999968,
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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 | AR00338 | {
"id": 4,
"meta": {
"type": "art.Classification"
}
} | 437 | 7013927 7013272 7007710 7012149 7007567 1002551 7007568 | Andy Warhol | 1,984 | [] | false | 1 | 2121 | paper print lithograph | [
{
"artistRoomsTour": true,
"dateText": "28 March 2009 – 21 September 2009",
"endDate": "2009-09-21",
"exhibitionLegs": [
{
"dateText": "28 March 2009 – 21 September 2009",
"endDate": "2009-09-21",
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"venueName": "Wolverhampton Art Gallery (Wolverhampton, UK)",
"venueWebsiteUrl": "http://www.wolverhamptonart.org.uk"
}
],
"id": 4098,
"startDate": "2009-03-28",
"title": "ARTIST ROOMS 2009: Andy Warhol",
"type": "Loan-out"
},
{
"artistRoomsTour": true,
"dateText": "27 March 2011 – 26 June 2011",
"endDate": "2011-06-26",
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{
"dateText": "27 March 2011 – 26 June 2011",
"endDate": "2011-06-26",
"id": 6079,
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}
],
"id": 4987,
"startDate": "2011-03-27",
"title": "ARTIST ROOMS 2011: Andy Warhol",
"type": "Loan-out"
},
{
"artistRoomsTour": true,
"dateText": "2 June 2012 – 13 January 2013",
"endDate": "2013-01-13",
"exhibitionLegs": [
{
"dateText": "2 June 2012 – 13 January 2013",
"endDate": "2013-01-13",
"id": 6912,
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"venueName": "Ferens Art Gallery (Hull, UK)",
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],
"id": 5635,
"startDate": "2012-06-02",
"title": "ARTIST ROOMS 2012: Warhol",
"type": "Loan-out"
},
{
"artistRoomsTour": true,
"dateText": "8 February 2013 – 28 April 2013",
"endDate": "2013-04-28",
"exhibitionLegs": [
{
"dateText": "8 February 2013 – 28 April 2013",
"endDate": "2013-04-28",
"id": 7858,
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"venueName": "The MAC: Metropolitan Arts Centre (Belfast, UK)",
"venueWebsiteUrl": null
}
],
"id": 6434,
"startDate": "2013-02-08",
"title": "ARTIST ROOMS 2013: Andy Warhol",
"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"
}
] | Ryuichi Sakamoto | 1,984 | ARTIST ROOMS Tate and National Galleries of Scotland | 1984 | CLEARED | 4 | support: 727 × 513 mm
frame: 794 × 582 × 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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"content": "<p>Music had a prominent role in both Warhol’s professional and personal life. From designing the infamous cover for The Rolling Stones ‘Sticky Fingers’ album, to being a regular at the legendary New York nightclub Studio 54, Warhol mixed with the stars of the music industry. This poster features the portrait of Ryuichi Sakamoto, an experimental musician who has achieved success in many aspects of the music industry, including orchestral compositions, pop music and film soundtracks. Warhol’s portrait of the Japanese star combines blocks of collage-like colour with a photographic screenprint. Yet, typical of his work from the 1980s, he has also incorporated hand-drawn (later, printed) con tours which pick out details.</p>\n",
"display_name": "Online caption",
"publication_date": "2009-04-16T00:00:00",
"slug_name": "online-caption",
"type": "ONLINE_CAPTION"
}
] | [] | null | false | 118 93 4358 39635 3802 10639 615 20118 166 195 1617 9328 20114 4896 9326 174 17694 172 17737 | false | artwork |
||||||||||||||
Screenprint on paper | [
{
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"prepend_role_to_name": false,
"role_display": "artist",
"url": "https://www.tate.org.uk/art/artists/andy-warhol-2121"
}
] | 3,704 | [
{
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{
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{
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{
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{
"id": 999999968,
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},
{
"id": 999999956,
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}
] | 1,987 | <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> | New York New York | 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 | AR00339 | {
"id": 4,
"meta": {
"type": "art.Classification"
}
} | 437 | 7013927 7013272 7007710 7012149 7007567 1002551 7007568 | Andy Warhol | 1,987 | [] | false | 1 | 2121 | paper print screenprint | [
{
"artistRoomsTour": true,
"dateText": "28 March 2009 – 21 September 2009",
"endDate": "2009-09-21",
"exhibitionLegs": [
{
"dateText": "28 March 2009 – 21 September 2009",
"endDate": "2009-09-21",
"id": 4898,
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],
"id": 4098,
"startDate": "2009-03-28",
"title": "ARTIST ROOMS 2009: Andy Warhol",
"type": "Loan-out"
},
{
"artistRoomsTour": true,
"dateText": "17 April 2010 – 23 October 2010",
"endDate": "2010-10-23",
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{
"dateText": "17 April 2010 – 23 October 2010",
"endDate": "2010-10-23",
"id": 5363,
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"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": true,
"dateText": "27 March 2011 – 26 June 2011",
"endDate": "2011-06-26",
"exhibitionLegs": [
{
"dateText": "27 March 2011 – 26 June 2011",
"endDate": "2011-06-26",
"id": 6079,
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"venueName": "Southampton City Art Gallery (Southampton, UK)",
"venueWebsiteUrl": "http://www.southampton.gov.uk/leisure/arts"
}
],
"id": 4987,
"startDate": "2011-03-27",
"title": "ARTIST ROOMS 2011: Andy Warhol",
"type": "Loan-out"
},
{
"artistRoomsTour": true,
"dateText": "24 September 2011 – 26 February 2012",
"endDate": "2012-02-26",
"exhibitionLegs": [
{
"dateText": "24 September 2011 – 26 February 2012",
"endDate": "2012-02-26",
"id": 6172,
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"venueName": "De La Warr Pavilion (Bexhill on Sea, UK)",
"venueWebsiteUrl": "http://www.dlwp.com/"
}
],
"id": 5042,
"startDate": "2011-09-24",
"title": "ARTIST ROOMS 2011: Andy Warhol",
"type": "Loan-out"
},
{
"artistRoomsTour": true,
"dateText": "11 April 2012 – 1 December 2012",
"endDate": "2012-12-01",
"exhibitionLegs": [
{
"dateText": "11 April 2012 – 1 December 2012",
"endDate": "2012-12-01",
"id": 6910,
"startDate": "2012-04-11",
"venueName": "Graves Art Gallery (Sheffield, UK)",
"venueWebsiteUrl": "http://www.museums-sheffield.org.uk/coresite/html/graves.asp"
}
],
"id": 5633,
"startDate": "2012-04-11",
"title": "ARTIST ROOMS 2012: Warhol Self Portraits",
"type": "Loan-out"
},
{
"artistRoomsTour": false,
"dateText": "18 February 2016 – 12 June 2016",
"endDate": "2016-06-12",
"exhibitionLegs": [
{
"dateText": "18 February 2016 – 12 June 2016",
"endDate": "2016-06-12",
"id": 9798,
"startDate": "2016-02-18",
"venueName": "Tate Modern (London, UK)",
"venueWebsiteUrl": "http://www.tate.org.uk/modern/"
}
],
"id": 8064,
"startDate": "2016-02-18",
"title": "Performing for the Camera",
"type": "Exhibition"
},
{
"artistRoomsTour": true,
"dateText": "10 June 2017 – 2 September 2017",
"endDate": "2017-09-02",
"exhibitionLegs": [
{
"dateText": "10 June 2017 – 2 September 2017",
"endDate": "2017-09-02",
"id": 11191,
"startDate": "2017-06-10",
"venueName": "Burgh Hall (Dunoon, UK)",
"venueWebsiteUrl": null
}
],
"id": 9210,
"startDate": "2017-06-10",
"title": "ARTIST ROOMS 2017: Andy Warhol",
"type": "Loan-out"
}
] | New York, New York | 1,987 | ARTIST ROOMS Tate and National Galleries of Scotland | 1987 | CLEARED | 4 | support: 564 × 444 mm
frame: 632 × 510 × 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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"content": "<p>Warhol had always been dissatisfied with his appearance and by the 1980s he had erected a complete façade, behind which to hide. His last self-portraits incorporate camouflage patterning, furthering this idea of hiding his true self. These portraits relate to Warhol’s series of photographs of him in his ‘fright wig’. His hair stands on end and his seemingly disembodied head, with blank eyes and slightly parted lips, bears similarities to his skull paintings. It is used here on a poster advertising 1987’s fourth annual copy of ‘Kunst und Kirche’ (Art and Church) - a German magazine for contemporary art and architecture which also explores religious and philosophical views. Warhol was a devout Catholic and his death early in 1987 aroused great interest in the press.</p>\n",
"display_name": "Online caption",
"publication_date": "2009-04-16T00:00:00",
"slug_name": "online-caption",
"type": "ONLINE_CAPTION"
}
] | [] | null | false | 51 13610 118 93 17701 17464 615 166 195 9328 20114 4896 9326 174 20116 14979 | false | artwork |
||||||||||||||
Lithograph 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"
}
] | 3,705 | [
{
"id": 999999779,
"shortTitle": "Tate Collection"
},
{
"id": 999999782,
"shortTitle": "Works with images"
},
{
"id": 999999961,
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},
{
"id": 999999788,
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},
{
"id": 999999967,
"shortTitle": "National Heritage Memorial Fund"
},
{
"id": 999999968,
"shortTitle": "Art Fund"
},
{
"id": 999999956,
"shortTitle": "Collection"
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] | 1,979 | <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> | Andy Warhols Exposures | 2,009 | [] | ARTIST ROOMS
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] | Marilyn Monroe | 1,985 | ARTIST ROOMS Tate and National Galleries of Scotland | 1985 | CLEARED | 4 | support: 597 × 969 mm
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] | <p><span>Plank Piece I–II</span> consists of two large framed black and white photographs in portrait format. Both images show a man pinned against a wall by a long wooden plank. He has long hair and wears dark clothes and heavy workman’s boots. The interior space shown in the photographs is sparse, with a plain carpet and white walls. In the first photograph, shown on the left, strip lighting and what appears to be a trestle table can be seen in the background. In this photograph the man is upside-down, facing the wall and stretching his arms towards the floor so that most of his body is pressed against the wall. The plank meets the man’s body at the back of his knee joints, causing his legs to bend away from the wall at a roughly forty-five degree angle. In the second photograph the man faces away from the wall with his feet hanging down towards the floor. The plank meets the man’s body at his abdomen, causing him to slump over it with his arms dangling down. The man depicted in these images is the artist, Charles Ray. The photographs were produced in an edition of seven with two artist’s proofs.</p> | false | 1 | 2751 | relief 2 photographs black white paper board | [
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] | Plank Piece I-II | 1,973 | ARTIST ROOMS Tate and National Galleries of Scotland | 1973 | CLEARED | 7 | frame (each): 1090 × 761 × 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 | [
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"content": "<div class=\"text\">\n<p>\n<i>Plank Piece I–II</i> consists of two large framed black and white photographs in portrait format. Both images show a man pinned against a wall by a long wooden plank. He has long hair and wears dark clothes and heavy workman’s boots. The interior space shown in the photographs is sparse, with a plain carpet and white walls. In the first photograph, shown on the left, strip lighting and what appears to be a trestle table can be seen in the background. In this photograph the man is upside-down, facing the wall and stretching his arms towards the floor so that most of his body is pressed against the wall. The plank meets the man’s body at the back of his knee joints, causing his legs to bend away from the wall at a roughly forty-five degree angle. In the second photograph the man faces away from the wall with his feet hanging down towards the floor. The plank meets the man’s body at his abdomen, causing him to slump over it with his arms dangling down. The man depicted in these images is the artist, Charles Ray. The photographs were produced in an edition of seven with two artist’s proofs.</p>\n<p>Ray created the work using his own body, experimenting with the ways in which he could balance himself against the wall using a single plank of wood. The critic Michael Fried has noted that ‘both arrangements, it seems clear, could have been achieved only with the help of at least one other person, who, however, does not appear in the photographs.’ (Fried 2011, p.72.) Indeed Ray deliberately presents the arrangements of body and plank as completed structures, offering no evidence of how the artist arrived in these poses. The works were created while Ray was still a student at the University of Iowa (1971–5) where he studied under Roland Brenner, a former student of the sculptor Anthony Caro. Studying Caro’s work and sculptural techniques (such as welding and bolting metal) was a formative experience for Ray, as the artist recorded in an interview: ‘Caro’s work was like a template; I saw it as almost platonic.’ (Charles Ray and Michael Fried, ‘Early One Morning’, <i>Tate Etc</i>., no.3, Spring 2005, p.51.)</p>\n<p>While a student, however, Ray also became interested in the work of minimalist sculptors such as Robert Morris, Donald Judd and Richard Serra. In works such as <i>Shovel Plate Prop</i> 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/serra-shovel-plate-prop-t01728\" title=\"View the details of this artwork\"><span>T01728</span></a>) Serra had used balance alone to support a heavy sculptural structure. This carefully judged equilibrium is seemingly precarious, pressing the sculpture into a charged and potentially dangerous relationship with the viewer. In response to such works, Ray began to experiment with balance and tension in his own sculpture, dispensing with the bolts and welding he had adopted through studying the work of Caro. In doing so Ray erased distinctions between sculpture and body. As he has said of <i>Plank Piece</i>: ‘My body is a sculptural element pinned to the wall by a wood plank.’ (Quoted in Nittive and Ferguson 1994, p.30.)</p>\n<p>\n<i>Plank Piece</i> was the first work in which Ray used his own body as part of a sculpture. He would continue the practice in works such as <i>In Memory of Sadat</i> 1981 and <i>Shelf</i> 1981 (both reproduced in Nittive and Ferguson 1994, pp.36–7, and discussed in a Tate video, <a href=\"http://www.tate.org.uk/context-comment/video/charles-ray\">http://www.tate.org.uk/context-comment/video/charles-ray</a>). <i>In Memory of Sadat</i> shows the artist apparently trapped inside a steel block, one arm and one leg breaking free of a sculptural form in minimalist style. Some critics have read Ray’s gesture in <i>Plank Piece</i> as a similar comment on the dominance of minimalism in the 1960s (see, for example, Nittive and Ferguson 1994, p.17). As the geometric form pins the artist to the wall, physical restriction comes to represent aesthetic restraint. In this reading <i>Plank Piece</i> acts as a bodily intervention in minimalism.</p>\n<p>The use of the artist’s body in <i>Plank Piece</i> also reflects the rise of performance art in the 1970s by artists such as Vito Acconci and Chris Burden. Yet this work remains predominantly sculptural, since the body is treated as an object rather than as a living and moving entity. The disconcerting nature of the image, as Ray slumps like a rag doll, is also counterpoised by its deadpan humour. The curator Bruce W. Ferguson describes <i>Plank Piece</i> as ‘a Keatonesque butterfly apparatus’ (Nittive and Ferguson 1994, p.11) in reference to the slapstick films of Buster Keaton. Like Keaton, Ray seems to have been the victim of an unlikely accident, with these photographs bearing witness to its aftermath.</p>\n<p>\n<b>Further reading</b>\n<br/>Lars Nittive and Bruce W. Ferguson, <i>Charles Ray</i>, exhibition catalogue, Rooseum Center for Contemporary Art, Malmö 1994, pp.10–12, 17, reproduced pp.30–1.<br/>Paul Schimmel, <i>Charles Ray</i>, exhibition catalogue, Museum of Contemporary Art, Los Angeles 1998, p.66, reproduced p.67.<br/>Michael Fried, <i>Four Honest Outlaws: Sala, Ray, Marioni, Gordon</i>, New Haven and London 2011, pp.72–4, reproduced p.73.</p>\n<p>Ruth Burgon<br/>The University of Edinburgh<br/>January 2014</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS</i>.</p>\n</div>\n",
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Polymer paint on vinyl mounted on composite board | [
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] | <p>Richter has always displayed the importance of the subjects of his paintings, maintaining that he simply chooses amateur photographs that allow him to concentrate on the act of painting appearances. But he is obviously drawn towards certain subjects since he pastes photographs of them in his ‘Atlas’, or personal image bank. Richter painted five portraits of Brigid Polk, the highly idiosyncratic and extrovert member of Andy Warhol’s Factory. These portraits are significant, in that in them Richter began to use colour again, after having used only black, white and grey tones in his previous figurative paintings.</p><p><em>Gallery label, May 2011</em></p> | false | 1 | 1841 | painting oil paint canvas | [
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Though recognized primarily for her work in Andy Warhol’s studio, Polk was also known for what she termed her ‘tit prints’ (made directly from the artist’s breasts using paint on canvas) as well as for her documentation of everyday life through photography. In 1971 Richter produced five portraits using photographs of Polk, following his established practice of producing paintings from photographic sources including clippings from newspapers and other publications, amateur shots from various sources, and his own photographs. Of this technique, which the artist first used in 1962, Richter has said:</p>\n<p class=\"cttext\">\n</p><blockquote>In a sense this is a stylistic problem, the form is naturalistic, even though the photograph is not nature at all but a prefabricated product. I do not have to intervene artistically with style, since the stylization (deformation in form and colour) contributes only under very particular circumstances toward clarifying and intensifying an object or a subject (generally stylization becomes the central problem which obscures everything else), it leads to an unmotivated artificiality, an untouchable formalist taboo.<br/>(Quoted in Schneede, Westheider and Philipp 2011, p.56.)</blockquote>\n<p>In some ways Richter’s turn to producing photographic paintings in the 1960s could be seen as a response to the recurrence of the ‘death of painting’ narrative, a ‘death’ that had been declared periodically since the invention of photography (as painting’s ‘replacement’) in the 1830s. Art historian Johannes Meinhardt argues that ‘Richter’s response to painting’s problematic status, was […] not to stop painting, but rather to rid his work of any hint of subjectivity.’ (Meinhardt 2009, p.136). Meinhardt observes that by the later twentieth century ‘it had become apparent that painting does not create any sort of transcendence or reveal essential truths, but simply produces visual effects’, to which Richter’s response was to focus on ‘exploring the specific reality of the painter’s methods, techniques, and mediums and the pictorial effects he produced’ (Meinhardt 2009, p.136). As a result Richter’s subject matter is, to a certain extent, arbitrary. The subject of the portrait could be, as the curator Paul Moorhouse notes, a close family member or a complete stranger (Moorhouse 2009, p.9).</p>\n<p>This work, along with the four further portraits of Polk, proved a significant departure from Richter’s previously monochromatic palette of black, white, and grey tones. As Moorhouse suggests, while the artist’s former ‘use of monochrome had invested the resulting images with a certain austerity, colour now introduced the illusion of living warmth’ (Moorhouse 2009, p.119). The other four portraits of the artist, also entitled <i>Brigid Polk</i>, are held at the Hessisches Landesmuseum in Darmstadt, the Böckmann Collection at the Neues Museum in Nuremberg, the Doris and Donald Fisher Collection at the San Francisco Museum of Modern Art, and in a private collection. Though it is not known who created them, the source photographs can be found in Richter’s collection of source images, <i>Atlas</i>, first published in 1972.</p>\n<p>\n<b>Further reading</b>\n<br/>Johannes Meinhardt, ‘Illusionism in Painting and the Punctum of Photography’ in Benjamin H.D. Buchloh (ed.), <i>Gerhard Richter: Essays and Interviews</i>, Cambridge, MA 2009, pp.135–51.<br/>Paul Moorhouse, <i>Gerhard Richter Portraits: Painting Appearances</i>, exhibition catalogue, National Portrait Gallery, London 2009, pp.119–27.<br/>\n<a href=\"http://www.amazon.com/s/ref=ntt_athr_dp_sr_3?ie=UTF8&field-author=Michael+Philipp&search-alias=books&text=Michael+Philipp&sort=relevancerank\">Michael Philipp</a>, <a href=\"http://www.amazon.com/s/ref=ntt_athr_dp_sr_1?ie=UTF8&field-author=Uwe+M.+Schneede&search-alias=books&text=Uwe+M.+Schneede&sort=relevancerank\">Uwe M. 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] | <p><span>Gilbert </span>and <span>George</span> are two portraits by Gerhard Richter featuring the artist duo Gilbert Proesch and George Passmore. <span>Gilbert </span>features the artist’s head and shoulders, he is formally dressed in a suit and tie and faces the viewer with a neutral expression. George is also present in the portrait as an upside-down ghostly overlay. Although his depiction is faded so that Gilbert’s features are dominant, his shoulders are visible along the top edge of the painting and his face overlaps with Gilbert’s, creating an illuminated oval in the centre of the otherwise dark composition. His lips are also faintly visible on Gilbert’s forehead and the impression of an eye is present on Gilbert’s left cheek. George’s most noticeable feature is his glasses, which sit on Gilbert’s cheekbones. The bottom edge of the glasses sits just above Gilbert’s right eye and cuts through his left. The other painting of the pair, <span>George, </span>has the same compositional technique. As George was made present in <span>Gilbert</span>, so too Gilbert featured in George’s portrait. Gilbert’s shirt collar and tie are clearly visible in the top centre of the painting. So too is his shoulder, which extends into the top right corner. Gilbert’s discernable facial features include both eyes, which are visible along the bottom rim of George’s glasses. The vague outline of his lips and chin also appear on George’s forehead. Subtle differences in the poses of the sitters are especially apparent in George’s portrait, as the illumination of their overlapped faces creates an uneven oval shape in the centre of the work.</p> | false | 1 | 1841 | painting oil paint 2 canvases | [
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] | Gilbert, George (381-1, 381-2) | 1,975 | ARTIST ROOMS Tate and National Galleries of Scotland | 1975 | CLEARED | 6 | support, each: 684 × 631 × 45 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
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"content": "<div class=\"text\">\n<p>\n<i>Gilbert </i>and <i>George</i> are two portraits by Gerhard Richter featuring the artist duo Gilbert Proesch and George Passmore. <i>Gilbert </i>features the artist’s head and shoulders, he is formally dressed in a suit and tie and faces the viewer with a neutral expression. George is also present in the portrait as an upside-down ghostly overlay. Although his depiction is faded so that Gilbert’s features are dominant, his shoulders are visible along the top edge of the painting and his face overlaps with Gilbert’s, creating an illuminated oval in the centre of the otherwise dark composition. His lips are also faintly visible on Gilbert’s forehead and the impression of an eye is present on Gilbert’s left cheek. George’s most noticeable feature is his glasses, which sit on Gilbert’s cheekbones. The bottom edge of the glasses sits just above Gilbert’s right eye and cuts through his left. The other painting of the pair, <i>George, </i>has the same compositional technique. As George was made present in <i>Gilbert</i>, so too Gilbert featured in George’s portrait. Gilbert’s shirt collar and tie are clearly visible in the top centre of the painting. So too is his shoulder, which extends into the top right corner. Gilbert’s discernable facial features include both eyes, which are visible along the bottom rim of George’s glasses. The vague outline of his lips and chin also appear on George’s forehead. Subtle differences in the poses of the sitters are especially apparent in George’s portrait, as the illumination of their overlapped faces creates an uneven oval shape in the centre of the work.</p>\n<p>Like Richter’s <i>Brigid Polk</i> 1971 (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-brigid-polk-305-ar00344\" title=\"View the details of this artwork\"><span>AR00344</span></a>), <i>Gilbert </i>and<i> George</i> were painted from a set of source photographs. Richter has said of his practice of painting from photographs that he ‘needed the greater objectivity of the photograph in order to correct [his] own way of seeing.’ (Quoted in Elger and Obrist 2009, p.64.) Richter took the photographs for these portraits in his own backyard in Brend’amourstraße in Düsseldorf, capturing the two artists from several positions and angles in order to create complex photographs with multiple exposures. In the resulting pictures, as Richter’s biographer Dietmar Elger describes it, ‘both men appear upside down and their faces fold into themselves and each other’ (Elger 2002, p.227). From these photographs Richter produced eight portraits, which were first exhibited together at the Konrad Fischer Galerie in Düsseldorf in 1975. All eight portraits reproduce in paint the multiple exposures found in the original photographs. The art historian and curator Paul Moorhouse argues that the overlapping images of the portraits gives ‘the impression of machine made, impersonal imagery’ (Moorhouse 2009, p.119). Richter himself has discussed the unusual effect of transposing the photographs into portraits: ‘the difficulty is that it looks so much like a trick. Not to mention the paintings were also very manneristic. Both of the small portraits end up looking like they were by Francis Bacon’ (quoted in Elger 2002, p.227).</p>\n<p>The superimposition of the artists’ faces in these portraits suggests the close proximity with which Gilbert & George have lived and worked throughout their careers. A collaborative artist duo, Gilbert & George became known in the late 1960s for performances in which they exhibited themselves as ‘living sculptures’, wearing matching tweed suits. Gilbert Prousch, born in 1943 in in South Tyrol, Italy, and George Passmore, born in 1952 in Totnes in Devon, met in 1967 while studying sculpture at Saint Martin’s School of Art in London. Within a year of their meeting the pair had begun working together as Gilbert & George. Richter met the pair during their first show at the Konrad Fischer Galerie in Düsseldorf, ‘The Pencil on Paper Descriptive Works’, which opened on 10 May 1970 following one of Richter’s own exhibitions. Like Richter Gilbert & George positioned themselves outside the dominant artistic movements of the time. In a 1993 interview with Hans Ulrich Obrist, Richter stated:</p>\n<p class=\"cttext\">\n</p><blockquote>I liked them as outsiders, above all. At that time, Minimal, Land and Conceptual art were dominant. I valued all that, though I have very little to do with it. With Gilbert & George, too, I liked the very nostalgic side. They were the first people who liked my landscapes. I think what impressed me most was the way they took their own independence as a matter of course.<br/>(Quoted in Elger and Obrist 2009, pp.298–9.)</blockquote>\n<p>The pair asked Richter to paint their portraits during one of their events at the Konrad Fischer Galerie in March 1974 (Elger 2002, p.226). According to Elger Richter was reluctant to take on the project, despite his respect for the two artists. Elger reports that Richter went so far as to attempt to ‘slip out of [the assignment] by insisting, for example, that [Gilbert & George] go on location to the Alps to take the photographs for the portraits’ (Elger 2002, p.226). When Gilbert & George immediately agreed to Richter’s suggestions, Richter gave in to their request.</p>\n<p>\n<b>Further reading</b>\n<br/>Dietmar Elger, <i>Gerhard Richter: A Life in Painting</i>, trans. by Elizabeth M. Solaro, London 2002, pp.193–201.<br/>Dietmar Elger and Hans Ulrich Obrist (eds.), <i>Gerhard Richter: Text, Writings, Interviews and Letters, 1961–2007</i>, London 2009.<br/>Paul Moorhouse, <i>Gerhard Richter Portraits: Painting Appearances</i>, exhibition catalogue, National Portrait Gallery, London 2009, pp.88–90.</p>\n<p>Colleen Carroll<br/>The University of Edinburgh<br/>February 2014</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS.</i>\n</p>\n</div>\n",
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"content": "<div class=\"text\">\n<p>This square black and white photograph is attached to an off-white paper mount. Shot from above, the photograph shows the American artist Francesca Woodman crouched on her hands and knees on top of the reflective glass of a rectangular mirror, which lies flat on the floor. The mirror is bordered by a dark carved frame and fills most of the image at an oblique angle to the edges of the picture. Occupying the top left corner of the image and covering nearly half of the mirror’s surface is a small woven rectangular rug. Woodman, who wears a sweater but apparently nothing else, is positioned diagonally across the mirror so that her head is framed by the corner of the rug to the left of the image, while her naked backside arches up towards the top right corner. She leans down low towards the mirror with bent arms but turns her head, which is slightly blurred, to look up at the camera. Below the photograph, on the off-white paper mount, Woodman has written in red ink, ‘See you Sunday Bow Wow love Spot’.</p>\n<p>This photograph was created while Woodman was a student at the Rhode Island School of Design (RISD) in Providence between 1975 and 1978. At RISD she was a fiercely dedicated and independent student who devoted herself exhaustively to her work. She set up a studio and living space in the shabby rooms of a former dry goods store, and she frequently worked in nearby abandoned houses and other rundown spaces. This work features Woodman prominently as its subject. When asked by her roommate and close friend Sloan Rankin why she was so often the subject of her own photographs, Woodman replied, ‘It’s a matter of convenience, I’m always available’ (quoted in Chandès 1998, p.35). This photograph is also notably small-scale. Woodman’s square photographs rarely measure more than 150 mm in height or width.</p>\n<p>Below many of Woodman’s photographs are ideas and phrases scrawled by her on the works’ paper mounts, but few of them contain as straightforward a message as this one. As with <i>Untitled, Providence, Rhode Island</i> 1975–8 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/woodman-untitled-providence-rhode-island-ar00356\" title=\"View the details of this artwork\"><span>AR00356</span></a>), Woodman gave this photograph to her then-boyfriend Benjamin Moore. The playful correspondence suggests that ‘Spot’ was a pet name for Woodman, which, along with the ‘Bow Wow’ and her stance on all fours, represented a sexual fantasy.</p>\n<p>Writer and art critic David Levi Strauss has written that in photographs such as this one Woodman’s role as both artist and (nude) subject subverts the conventions of traditional photography, whereby women are captured, so to speak, and looked at exclusively by men (see Chandès 1998, p.19). Curator Harm Lux has argued that the mirror, a prop used frequently by Woodman in her work, does not serve a narcissistic purpose – in this work Woodman even turns away from it – but rather he sees the mirror as ‘mocking the voyeurist [sic] viewer’ by rarely reflecting Woodman very fully or clearly (Lux 1992, p.18). <i>Untitled, Providence, Rhode Island</i> complicates this interpretation of Woodman’s work in that it was intended for her boyfriend and appears to invite rather than deny sexual pleasure. In fact, the mirror’s reflection here affords the viewer a glimpse of Woodman’s chest, in particular the sharp V-neck of her sweater. The work therefore seems instead to support art historian Lorraine Kenny’s position that Woodman yields to or strategically complies with the pornographic gaze rather than frustrates it (see Keller 2011, p.190).</p>\n<p>\n<b>Further reading </b>\n<br/>Harm Lux, <i>Francesca Woodman: Photographic Works</i>, exhibition catalogue, Shedhalle, Zürich 1992.<br/>Hervé Chandès (ed.), <i>Francesca Woodman</i>, exhibition catalogue, Fondation Cartier pour l’art contemporain, Paris 1998.<br/>Corey Keller (ed.), <i>Francesca Woodman</i>, exhibition catalogue, San Francisco Museum of Modern Art 2011.</p>\n<p>John White<br/>The University of Edinburgh<br/>November 2014</p>\n<p>The University of Edinburgh is a research partner of ARTIST ROOMS.</p>\n</div>\n",
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] | <p>In this black and white square-format photograph the artist stands in the centre of the image wearing a patterned, long-sleeved, knee-length dress and black knee-high boots. She occupies an otherwise empty space in the corner of a room, standing near the back wall, which is bare and painted white. A dark skirting board runs along the base of the wall where it meets the lighter grey concrete floor. The adjacent wall can be seen on the far right of the image and features a window through which light enters the room, falling over the left side of Woodman’s body, leaving her right side in shadow. Woodman stands with her feet planted hip-width apart and is bent slightly forwards towards the camera with her arms and hands out in front of her. Her face, which appears to look down towards the floor, is obscured by her hair, which is blurred as though she is shaking her head.</p> | false | 1 | 10512 | paper print photograph gelatin silver | [
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"content": "<div class=\"text\">\n<p>This black and white square-format photograph features the artist sitting in a chair in the corner of an abandoned interior space. The room has bare floorboards and a heavy skirting board. On the right of the composition, behind the artist, is a window through which light enters the scene, while on the left is what looks like a filled-in window surround. Woodman is seated on a white wooden chair and is nude except for a necklace and a pair of dark single-strap ‘Mary Jane’ style shoes. She wears her hair up, with a single lock falling on the right side of her face. Looking straight at the camera, she sits upright with her legs almost together and her feet tucked in close to the chair, while her hands are positioned in her lap just between her legs. Her bare breasts and torso are lighter in colour than the rest of her skin. On the a particularly white area of the floor to her right, forming a diagonal from where she sits, is a dark silhouette or impression of what looks like a female body, with its head at the artist’s feet. The outline is only partial, missing its forearms, hands and left leg.</p>\n<p>The photograph, as the title suggests, was taken in Providence, Rhode Island, in 1976, and is one of a series of similar images. The powder on the floor is flour gathered from a freight car which happened to overturn in the vicinity of Woodman’s studio (Bronfen 2014). The artist lay on her back while the flour was sprinkled over her and the surrounding floorboards, leaving the dark impression or ‘shadow’ where she had been. The photograph contains glowing whites: the light coming in from the window behind Woodman has completely obliterated any detail of the outside world, and the flour on the floor appears to shimmer.</p>\n<p>Woodman's photographs frequently depict female forms in empty, tightly cropped interior spaces. This corresponds with the small size of the photographs themselves, which rarely exceed twenty centimetres square, allowing for what the critic Jane Simon has described as ‘an intimate experience between the viewer and the photograph’ (Simon 2010, p.28). Establishing a close relationship between the viewer and the artwork allowed Woodman to convey a sense of fragility and vulnerability in relation to the external world, as suggested by the artist’s closed pose and anxious expression in this photograph. Although she was the model in most of her work, Woodman’s photographs do not function as typical self-portraits. Rather, she used her own image to explore the representation of gender and the relation of the body to its environment. Her use of objects associated with budding femininity, like the ‘Mary Jane’ shoes, set within a decaying interior space, a site often associated with female domesticity, challenges idealised, constructed notions of femininity.</p>\n<p>The impression on the floor, which reveals the darker, rough floorboards below, creates the illusion of a body sinking through a surface, or perhaps floating through light. This supernatural imagery corresponds to the artist’s interest in the surrealist movement of the early twentieth century, and perhaps alludes to the American artist Man Ray’s signature Rayograms, which, in reverse of Woodman’s dark imprint, feature light bodies and objects on dark grounds. The feature may also refer directly to <i>Erotique Voilée </i>1933 (Museo Nacional Centro de Arte Reina Sofía, Madrid), Man Ray’s portrait of his fellow surrealist Méret Oppenheim at a printing press. In Ray’s photograph, Oppenheim’s arm is smeared with ink, which creates a dark imprint of her body similar to the imprint Woodman created for her photograph.</p>\n<p>\n<b>Further reading</b>\n<br/>Carol Armstrong, ‘Francesca Woodman: A Ghost in the House of the Woman Artist’, in Carol Armstrong and Catherine de Zegher (eds.), <i>Women Artists at the Millennium</i>, Cambridge, Massachusetts 2006, pp.337–69.<br/>Jane Simon, ‘An Intimate Mode of Looking: Francesca Woodman's Photographs’,<i> Emotion, Space and Society</i>, no.3, May 2010, pp.28–59.<br/>Meaghan Thurston, ‘‘At Home in Dust’: Francesca Woodman’s House Series, Revisited’, <i>Forum</i>, no.11, Autumn 2010, <a href=\"http://www.forumjournal.org/site/issue/11/meaghan-thurston\">http://www.forumjournal.org/site/issue/11/meaghan-thurston</a>, accessed 8 October 2013.<br/>Elisabeth Bronfen, ‘Leaving an Imprint: Francesca Woodman’s Photographic Tableaux Vivants’, in <i>Francesca Woodman: Works from the Sammlung Verbund</i>. Cologne and New York 2014.</p>\n<p>Emilie Reed<br/>The University of Edinburgh<br/>October 2013</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS.</i>\n</p>\n</div>\n",
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Woodman was a student at the Rhode Island School of Design (RISD) between 1975 and 1977 before moving to Rome with the school’s honours programme, which she completed in 1978. Moore was her boyfriend at the time and was also a student at RISD. The couple began dating in 1975 and were together for approximately five years. Woodman’s classmate and close friend Sloan Rankin has said that Moore was the photographer’s ‘first caring love’ (<i>The Woodmans</i>,<i> </i>dir. by Scott Willis, 2010). The artist photographed Moore on numerous occasions and she sometimes included herself in the image, as here. In this image the couple’s casual attire and bodily proximity suggest intimacy, while the dark shadows create a sense of foreboding. 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He also featured in some of the films Woodman recorded, but never exhibited, including <i>Spitting Image</i> c.1976–8 (private collection).</p>\n<p>Woodman had been to Italy on numerous occasions with her family as a child. Her parents owned a house in Tuscany, which they visited during summer holidays. Despite Woodman’s familiarity with the country, writer Isabella Pedicini has noted that during the artist’s time in Italy as a student ‘the symbolist tendencies that marked her photographs from Boulder and Providence gave way to a photography which was expertly organised in space and composed by a number of small elements framed in perspective’ (Pedicini 2012, p.59<b>).</b> This organisation is evident in the close framing and considered use of light and shadow in the composition of this portrait. In other photographs taken at this time (see, for example, Untitled, from Eel Series, Venice, Italy 1978 Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/woodman-untitled-from-eel-series-venice-italy-ar00348\" title=\"View the details of this artwork\"><span>AR00348</span></a>) the artist’s carefully considered use of light and composition is evident in her bold pose, and use of cropping and chiaroscuro. Author and feminist scholar Peggy Phelan has commented that Woodman’s compositional style ‘repeatedly expresses her dual desire to inhabit and to escape the limit of the visible’ (Phelan 2002, p.993). This duality is evident in the contrast between the artist’s direct gaze toward the camera and her position at the edge of the frame with her face obscured by the light. She seems to retreat into the background as Moore occupies the foreground. In the majority of Woodman’s solo self-portraits, or images with friends, she experiments with more extreme obstructions, from mirrors to wallpaper and the blurring resulting from movement in front of the lens.</p>\n<p>This image, along with the seventeen other works by Woodman in the ARTIST ROOMS collection, originally belonged to Benjamin P. Moore. Moore sold the photographs to Jefferey Frankel, an international macroeconomist. As a friend of Anthony d’Offay, Frankel approached the collector who acquired the images, allowing them subsequently to become part of the ARTIST ROOMS collection.</p>\n<p>\n<b>Further reading</b>\n<br/>Peggy Phelan, ‘Francesca Woodman’s Photography: Death and the Image One More Time’, <i>Signs</i>,<i> </i>vol.27, no.4, Summer 2002, pp.979–1004.<br/>Isabella Pedicini, <i>Francesca Woodman: The Roman Years: Between Skin and Film, </i>Rome 2012.</p>\n<p>Susan Mc Ateer<br/>The University of Edinburgh<br/>December 2013</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS.</i>\n</p>\n</div>\n",
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"content": "<div class=\"text\">\n<p>The black and white photograph <i>Untitled, from Angel Series, Rome, Italy </i>1977 depicts the interior of a rundown building, with a doorframe taking up a large portion of the image. Through the doorframe can be seen two figures. The figure to the left stands behind a large crumpled sheet of paper, with only their feet and a very faint impression of their body visible. The shape is blurred with movement. The second figure, on the right-hand side, appears to be crouched behind a small rectangular form (perhaps a wooden board or block), with only a hand visible from the left side. A bright light from the left illuminates the otherwise empty space.</p>\n<p>Woodman produced this image from her <i>Angel Series</i> during a year spent abroad in Rome from 1977 to 1978, after gaining a scholarship from the Rhode Island School of Design (RISD). In several other photographs in the <i>Angel Series</i> (reproduced Townsend 2006, pp.152–3, 159), Woodman takes on the form of the ‘angel’ more explicitly, making wings out of white sheets. Art historian Rosalind Krauss has suggested that the works produced during Woodman’s time at RISD were responses to studio assignments posed by university lecturers, with the <i>Angel Series </i>responding to a brief ‘to photograph something that doesn’t exist’ (Krauss 2000, p.162). Following such instructions, Woodman’s preparatory method was meticulous, as she invested time in making sketches of the layout of her photographic compositions before approaching the camera. The most recognisable trait of her practice, as art historian Harriet Riches notes, was the way ‘Woodman used herself to address the technical problems of focus, the creativity of composition or the spaces created through depth of field’ (Riches 2011, p.72). She preferred long, single exposures that simultaneously capture great surface and texture detail, and also allowed the blurring and obscuring of her subjects through movement. Therefore, despite her planning, Woodman ultimately left the final composition to chance. For her <i>Angel Series</i>, looking towards the theme of angelic spectral figures and the transitioning of states, this approach lent itself very well.</p>\n<p>In this particular image a recognisable domestic space frames an unsettling staging of figures and objects, just out of reach beyond the doorframe. The viewer is privy to the scene, but excluded from observing the entire interior and its inhabitants. At first glance the rectangular form appears as another doorway, confusing the viewer’s immediate perception of the scene, in which normal objects disrupt the space and conceal the figures with an almost sculptural quality. As art historian Abigail Solomon-Godeau has noted, ‘the relationship constructed [in the photographer’s work] is not between the real woman and her image, but between the spectator and two equally unreal images’ (Abigail Solomon-Godeau, <i>Photography at the Dock</i>, Minneapolis 1991, p.255). Typical of Woodman's work, the still regularity of the board sits in contrast to the messiness of the crumpled paper, heightening the oppositionality of these two points of focus, as seen in <i>Space², Providence, Rhode Island </i>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/woodman-space-providence-rhode-island-ar00350\" title=\"View the details of this artwork\"><span>AR00350</span></a>). It is therefore the single hand that becomes the focal point of the image: the dark human shape against the bright white of the rectangular form provides a sense of the uncanny.</p>\n<p>The eighteen photographs in the ARTIST ROOMS collection by Woodman were originally owned by Benjamin P. Moore, her boyfriend of the time, who is pictured in <i>Untitled </i>1975–80 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/woodman-untitled-ar00363\" title=\"View the details of this artwork\"><span>AR00363</span></a>) and alongside Woodman in <i>Untitled, Rome, Italy </i>1977–8 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/woodman-untitled-rome-italy-ar00353\" title=\"View the details of this artwork\"><span>AR00353</span></a>).</p>\n<p>\n<b>Further reading</b>\n<br/>Rosalind Krauss, ‘Francesca Woodman: Problem Sets’, in <i>Bachelors</i>, Cambridge, MA 2000, pp.161–79.<br/>Chris Townsend, <i>Francesca Woodman: Scattered in Space and Time, </i>London 2006.<br/>Harriet Riches, ‘Girlish Games: Playfulness and “Drawingness” in the work of Francesca Woodman and Lucey Gunning’, in Catherine Grant and Lori Waxman (eds.), <i>Girls! Girls! Girls! in Contemporary Art</i>, Bristol 2011, pp.65–86.</p>\n<p>Hayley Gault<br/>University of Edinburgh<br/>October 2015</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS</i>.</p>\n</div>\n",
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"content": "<div class=\"text\">\n<p>In this black and white photograph Francesca Woodman, naked and looking at the camera, appears seated on a cushioned wooden stool low to the ground with her left arm covering her left breast and her toes curling around the edges of a rug. On the rug to her right stands an unidentified naked woman whose head is out of the frame and whose right hand rests on her belly. A mirror propped against the wall behind her reflects the shadowed backs of her legs. Words are scrawled on the wall above the mirror and, above these, two cloths hang from a horizontal beam, one showing several unclear words and an image. Above Woodman a photograph is tacked to the wall, as well as another cloth that hangs lopsided. The left third of the image is dominated by shelves that contain books, papers and bottles of different sizes. Below the shelves an array of papers and various objects sit on the floor.</p>\n<p>This photograph was created while Woodman was a student at the Rhode Island School of Design (RISD) in Providence from 1975 to 1978. At RISD Woodman was a fiercely dedicated and independent student who devoted herself exhaustively to her work. She set up a studio and living space in the shabby rooms of a former dry goods store, and frequently worked in nearby abandoned houses and other rundown spaces. This work features Woodman prominently as its subject. When asked by her roommate and close friend Sloan Rankin why she was so often the subject of her own photographs, Woodman replied: ‘It’s a matter of convenience, I’m always available’ (quoted in Rankin 1998, p.35). This photograph is also notably small-scale. Woodman’s square photographs rarely measure more than fifteen centimetres in height or width.</p>\n<p>In this photograph the compositional ‘decapitation’ of the standing woman exemplifies the violent use of cropping, often used in Woodman’s work (see, for example, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/woodman-me-and-benjamin-in-may-ar00360\" title=\"View the details of this artwork\"><span>AR00360</span></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/woodman-untitled-new-york-ar00362\" title=\"View the details of this artwork\"><span>AR00362</span></a>). The cropping of one of the two subjects suggests that Woodman treated the two bodies with no more importance than the objects lying around them. Writing about Woodman’s work, the critic Margaret Sundell has argued that, in photography, ‘not only is the [subject’s] body submitted to a flattened surface, one’s subjectivity is also imperiled in [the] movement from flesh to image’ (quoted in Sundell 1996, p.439). In this image the compositional beheading of the woman on the left renders her body anonymous, suggesting that Woodman was experimenting with the loss of subjectivity. Indeed, art historian Harriet Riches has written that, by ‘taking advantage of the camera’s ability to crop and frame the body’, Woodman ‘exploits a photographic language of violence, as she explores the medium’s proclivity for excising subjectivity from the world’ (Riches 2004, p.99).</p>\n<p>\n<b>Further reading</b>\n<br/>Margaret Sundell, ‘Vanishing Points: The Photography of Francesca Woodman’ in M. Catherine de Zegher (ed.), <i>Inside the Visible: An Elliptical Traverse of 20th Century Art: In, of, and from the Feminine</i>, Cambridge, Massachusetts 1996, pp.435–39.<br/>Sloan Rankin, ‘Peach Mumble – Ideas Cooking’ in Hervé Chandès (ed.), <i>Francesca Woodman</i>, New York 1998.<br/>Harriet Riches, ‘A Disappearing Act: Francesca Woodman’s <i>Portrait of a Reputation</i>’, <i>Oxford Art Journal</i>, vol.27, no.1, 2004, pp.97–113.</p>\n<p>John White<br/>University of Edinburgh<br/>January 2015</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS.</i>\n</p>\n</div>\n",
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] | Untitled, Providence, Rhode Island | 1,976 | ARTIST ROOMS Tate and National Galleries of Scotland | 1976 | CLEARED | 4 | image: 140 × 140 mm
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] | <p>In this square black and white photograph Francesca Woodman stands with her back against a wall. Her body is oriented towards the camera, but she bends over so that her head – which, mostly out of frame and seen from the top, is little but a nose – faces the ground. She wears a patterned dress or blouse and skirt and is barefoot, while her arms hang down in front of her, blurred in action. The wall and skirting board behind her are peeling and cracked, and on the floor around her feet are dead leaves, plaster and assorted debris. A slant of light from an unseen source creates a bright diagonal line that passes from Woodman’s right hand across her right knee and left calf, before ending in a patch of light on the floor to her left. From her right hand – and perhaps also from her left hand – hangs a flimsy material, obscured by the blur and the light. The image is captured at an angle so that it tilts down to the left.</p> | false | 1 | 10512 | paper print photograph gelatin silver | [
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frame: 458 × 402 × 20 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>
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"content": "<div class=\"text\">\n<p>In this square black and white photograph Francesca Woodman stands with her back against a wall. Her body is oriented towards the camera, but she bends over so that her head – which, mostly out of frame and seen from the top, is little but a nose – faces the ground. She wears a patterned dress or blouse and skirt and is barefoot, while her arms hang down in front of her, blurred in action. The wall and skirting board behind her are peeling and cracked, and on the floor around her feet are dead leaves, plaster and assorted debris. A slant of light from an unseen source creates a bright diagonal line that passes from Woodman’s right hand across her right knee and left calf, before ending in a patch of light on the floor to her left. From her right hand – and perhaps also from her left hand – hangs a flimsy material, obscured by the blur and the light. The image is captured at an angle so that it tilts down to the left.</p>\n<p>This photograph was created while Woodman was a student at the Rhode Island School of Design (RISD) in Providence, USA from 1975 to 1978. At RISD Woodman was a fiercely dedicated and independent student who devoted herself exhaustively to her work. She set up a studio and living space in the shabby rooms of a former dry goods store, and frequently worked in nearby abandoned houses and other rundown spaces. This work features Woodman prominently as its subject. When asked by her roommate and close friend Sloan Rankin why she was so often the subject of her own photographs, Woodman replied: ‘It’s a matter of convenience, I’m always available’ (quoted in Rankin 1998, p.35). This photograph is also notably small-scale. Woodman’s square photographs rarely measure more than 150 mm in height or width.</p>\n<p>Writing of the photographs in which Woodman obscures herself in abandoned houses (see, for example, <i>Untitled, Providence, Rhode Island</i> 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/woodman-untitled-providence-rhode-island-ar00357\" title=\"View the details of this artwork\"><span>AR00357</span></a>), art critic Margaret Sundell suggests that the artist ‘stages an elaborate game of hide-and-seek with the peeling walls and chipped floors’ (quoted in Sundell 1996, p.435). Woodman plays a similar game here with the viewer, hiding her face and blurring her arms and the flimsy material in her hand, all the while presenting herself to the viewer. She does so within a space that is very similar to – quite possibly the same as – the abandoned spaces featured in many of her Providence photographs.</p>\n<p>Sundell points to Woodman’s frequently childish attire to argue that these photographs convey ‘a sense of “playing house,” of the way a child feels at once overwhelmed and omnipotently invisible when infiltrating a place that adults once owned.’ (Sundell 1996, p.435.) In this work, Woodman’s clothing does appear, if not childish, then perhaps that of a child trying to appear adult. Her bare feet seem out of place with her frilly garments, as do her active arms, which perhaps tear at the peeling wallpaper or reach down to scoop up the dead leaves.</p>\n<p>This photograph also bears a striking formal resemblance to Woodman’s earliest work, the well-known <i>Self-Portrait at Thirteen</i> from 1972 (reproduced in Chris Townsend, <i>Francesca Woodman</i>, London 2006, p.75). In this photograph, a young Woodman, seated, extends her left hand towards the camera. A ray of light seems to emanate from the camera, though this ray is most likely to be a pole on which the camera has been mounted. In <i>Untitled, Providence, Rhode Island</i> a similar ray of light now appears to originate from her right hand. Moreover, in <i>Self-Portrait at Thirteen</i> the artist also obscures her face, on this occasion with her long hair. In this way, <i>Untitled, Providence, Rhode Island</i> continues Woodman’s project of hiding in plain sight that she had begun as a young teenager.</p>\n<p>\n<b>Further reading</b>\n<br/>Margaret Sundell, ‘Vanishing Points: The Photography of Francesca Woodman’, in M. Catherine de Zegher (ed.), <i>Inside the Visible: An Elliptical Traverse of 20th Century Art: In, of, and from the Feminine</i>, Cambridge, Massachusetts 1996, pp.435–9.<br/>Sloan Rankin, ‘Peach Mumble – Ideas Cooking’, in Hervé Chandès (ed.), <i>Francesca Woodman</i>, New York 1998, pp.33–7.<br/>Cory Keller (ed.), <i>Francesca Woodman</i>, exhibition catalogue, San Francisco Museum of Modern Art, San Francisco, 2012, reproduced p.15.</p>\n<p>John White<br/>The University of Edinburgh<br/>November 2014</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS.</i>\n</p>\n</div>\n",
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"content": "<p>Woodman explores contrasting surfaces, patterns and lines in this photograph, making it one of the more abstract of her works in the ARTIST ROOMS Collection. The light caught on the mirror fragment has a spectral, supernatural quality, suggesting the influence of Surrealism. Woodman’s photographs explore issues of gender and self, looking at the representation of the body in relation to its surroundings. She usually puts herself in the frame, although these are not conventional self-portraits, since she is either partially hidden or concealed by slow exposures that blur her moving figure into a ghostly presence. This underlying fragility is emphasised by the small and intimate format of the photographs.</p>\n",
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