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] | <p><span>Drypoint – Ocean Surface </span>is a small, one-colour drypoint engraving of ocean waves in black ink on white Arches Satine paper. It was printed and published by Gemini G.E.L. (Graphic Editions Limited) in Los Angeles in an edition of seventy-five with twelve artist’s proofs, in collaboration with master printer Doris Simmelink. The copy held by ARTIST ROOMS is artist’s proof number 3/12. Artist’s proofs are identical in appearance to the numbered edition but are usually printed beforehand with the artist and publisher retaining most, if not all, of these proofs.</p> | false | 1 | 2731 | paper print drypoint | [
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] | Drypoint - Ocean Surface | 1,983 | ARTIST ROOMS Tate and National Galleries of Scotland | 1983 | CLEARED | 4 | image: 186 × 239 mm
frame: 700 × 545 × 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>
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"content": "<div class=\"text\">\n<p>\n<i>Drypoint – Ocean Surface </i>is a small, one-colour drypoint engraving of ocean waves in black ink on white Arches Satine paper. It was printed and published by Gemini G.E.L. (Graphic Editions Limited) in Los Angeles in an edition of seventy-five with twelve artist’s proofs, in collaboration with master printer Doris Simmelink. The copy held by ARTIST ROOMS is artist’s proof number 3/12. Artist’s proofs are identical in appearance to the numbered edition but are usually printed beforehand with the artist and publisher retaining most, if not all, of these proofs. </p>\n<p>This print is a drypoint with no other techniques involved. Drypoint is an intaglio engraving process which means that the design is incised and the ink is sunk into the resulting grooves beneath the surface of the metal plate (see Lambert 2001, p.38). Drypoint is essentially a form of drawing. As the curator Susan Lambert explains: ‘In this technique the line is scratched on the plate by a tool with a sharp point. The tool is held in much the same way as a pencil.’ (Ibid., p.50.) There is a clean, graphic quality to the resulting print; however, there is also a softness to the grey tones of the majority of the wave surface, which is accented by white highlights from the un-inked paper and contoured by darker shadows in areas of greater ink density. Looking closely at the surface of the print you can see that these gradations from light to dark are achieved through hatching and cross-hatching by the drypoint needle. These individual lines are so fine that at a distance they coalesce into the precise wave formations.</p>\n<p>The waves entirely fill the printed surface. The image gradually shifts from the darkest, foreground waves at the bottom edge to the lightest and smallest at the top of the plate, with the image receding perspectivally as the picture plane tilts upwards. The ocean is cropped so that no horizon line or sky is visible. This is a very small image relative to the size of the paper on which it has been printed. It is a landscape-oriented print on a large portrait piece of paper, with a double margin around the image – both a plate mark from the printmaking process and a separate border. This reinforces the status of the image as a hand-engraved, printed reproduction of a photograph, in effect a double translation from the original source material. </p>\n<p>This ocean image is based on one of a group of photographs of the Pacific Ocean, taken by the artist near her home in California in the late 1960s. The first works to derive from these ocean photographs were a series of graphite pencil on paper drawings in 1968 that experimented with variations in the density and tone of graphite across the various photographic iterations, such as <i>Untitled (Ocean) </i>1968 (reproduced in Lingwood 1996, p.57). The artist retained these photographs to use in her prints many years later. </p>\n<p>The rectangular section of ocean in this print is presented anonymously, with no indicators of geographic location, weather conditions or time of day. The waves are almost uniform in their precise graphic description and rhythmic undulation, and do not convey any sense of danger, romanticism or sublime notions of nature. These are superfluous emotive connotations which do not interest the artist. The ocean image is linked to Celmins’s contemporaneous exploration of desert and lunar surfaces as alternative frameworks for her mark-making. The curator Neville Wakefield has considered this facet of her practice: </p>\n<p class=\"cttext\">\n</p><blockquote>Resisting the theatrical grandeur of the canyons or the romantic appeal of the crashing seas, she favours instead surface tensions created out of minute and barely perceptible agitations. The seascapes, like the desertscapes, though transcribed from photographs that the artist would take from the pier on Venice beach or her walks in Death Valley, are also depictions of all seas, and all deserts.’ </blockquote>\n<blockquote>(Wakefield 1996, p.47.) </blockquote>\n<p>Within the extensive group of prints by Celmins in ARTIST ROOMS there are two other works that utilise the ocean motif, and perhaps even the same source photograph as the starting point for the printed image. These are Ocean Surface Woodcut 1992 1992 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-ocean-surface-woodcut-1992-ar00484\" title=\"View the details of this artwork\"><span>AR00484</span></a>) and Ocean Surface Wood Engraving 2000 2000 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-ocean-surface-wood-engraving-2000-ar00473\" title=\"View the details of this artwork\"><span>AR00473</span></a>). Along with Drypoint – Ocean Surface, these works demonstrate the persistence and longevity of the ocean image as subject matter, migrating to different printmaking techniques in the artist’s practice over three consecutive decades. </p>\n<p>Discussing her reuse of the ocean motif across many years and various works, Celmins noted: ‘The ocean image is one that is part of me and that I try to do every now and then with a new sensibility or process. I loved the directness of the drypoint. Mezzotint is also direct, meaning that neither requires an etch before printing.’ (Quoted in Rippner 2002, p.30.) This unmediated touch of drypoint needle on metal plate complicates the mechanical reproduction of printmaking with the direct intervention of the artist’s hand.</p>\n<p>\n<b>Further reading </b>\n<br/>Neville Wakefield, ‘Temps Morts’, in James Lingwood (ed.), <i>Vija Celmins: Works 1964–96</i>, exhibition catalogue, Institute of Contemporary Arts, London 1996, pp.44–7.<br/>Susan Lambert, <i>Prints: Art and Techniques</i>, London 2001.<br/>Samantha Rippner, <i>The Prints of Vija Celmins</i>, exhibition catalogue, Metropolitan Museum of Art, New York 2002, reproduced p.22. </p>\n<p>Stephanie Straine <br/>May 2010</p>\n</div>\n",
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] | <p><span>December 1984 </span>is a one-colour mezzotint print of a star-filled night sky in black ink on white Rives BFK paper. It was printed and published by Gemini G.E.L. (Graphic Editions Limited) in Los Angeles in an edition of twenty-five with eight artist’s proofs, in collaboration with the master printmaker Doris Simmelink. The copy held by ARTIST ROOMS is edition number 3/25, inscribed at the bottom left corner of the print, and signed by the artist at the bottom right in pencil. The art historian Susan Lambert has explained the mezzotint technique, which Celmins has utilised in numerous prints:</p> | false | 1 | 2731 | paper print mezzotint | [
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] | December 1984 | 1,985 | ARTIST ROOMS Tate and National Galleries of Scotland | 1985 | CLEARED | 4 | image: 407 × 388 mm
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"content": "<div class=\"text\">\n<p>\n<i>December 1984 </i>is a one-colour mezzotint print of a star-filled night sky in black ink on white Rives BFK paper. It was printed and published by Gemini G.E.L. (Graphic Editions Limited) in Los Angeles in an edition of twenty-five with eight artist’s proofs, in collaboration with the master printmaker Doris Simmelink. The copy held by ARTIST ROOMS is edition number 3/25, inscribed at the bottom left corner of the print, and signed by the artist at the bottom right in pencil. The art historian Susan Lambert has explained the mezzotint technique, which Celmins has utilised in numerous prints: </p>\n<p class=\"cttext\">\n</p><blockquote>Mezzotint is a form of tonal engraving and, because the engraver works from dark to light, it is often described as a negative process. The plate is prepared so that it will print an even, deep black. This is done by pitting its surface systematically with a serrated chisel-like tool, known as a rocker, which raises a uniform burr. The design is formed by smoothing the burr so that different areas of the plate will hold different quantities of ink and therefore print different tones of grey. A scraper is used to remove large areas of burr, and a burnisher for more delicate work. Highlights are achieved by burnishing the plate quite smooth so that when it is wiped no ink remains on these areas.</blockquote>\n<blockquote>(Lambert 2001, p.50.)</blockquote>\n<p>\n<i>December 1984 </i>exploits the mezzotint’s full spectrum of negative processes using the rocker, burnisher and scraper, and its resulting greyscale variations across the print surface create both a minutely-detailed abstract pattern and a convincing suggestion of many thousands of stellar formations. The star-filled composition of this print – as is the case with the majority of Vija Celmins’s drawings, prints and paintings – is based on an astronomical photograph rather than direct observation of the night sky. The artist has discussed her relationship to these source materials: </p>\n<p class=\"cttext\">\n</p><blockquote>I have millions of night sky images and they’re all unsatisfactory. They’re all flat photographs and they’re printed. I like that printed quality. It’s my job to make them satisfying and put them in the real world as real textural objects. I’m redescribing the image in another medium that’s real, that has some substance.</blockquote>\n<blockquote>(Quoted in Seymour 2001, p.55.) </blockquote>\n<p>This mezzotint was printed on a very large piece of portrait-oriented paper. The engraved copper plate was positioned close to the top edge of the paper when printed so that there is a large expanse of paper beneath the printed image, giving a sense of absolute containment and not the infinity normally associated with night skies. This is a densely-packed constellation image, with a pitch-black background and stars that range from near-black, to grey, to the pure white of the paper. The stars range in size from miniscule dots to relatively large circles of glowing white. The visual field appears as a richly patterned surface, while never quite losing its referential quality. Some stars radiate hazy auras, while others are crisply defined. There is nothing regular about the contents of this print – the placement of the star clusters vary enormously and the randomness of this arrangement drains any specificity from Celmins’s generic, reusable format. </p>\n<p>In the 1980s the artist focused her work upon a return to painting, which she had abandoned in the late 1960s in favour of working with graphite on paper. The 1980s also ushered in a more sustained commitment to printmaking, which became an integral part of Celmins’s work, with the production of many editioned prints, both individually and in series. The night sky remained a constant preoccupation: prints like <i>Mount Holyoke </i>1987 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-mount-holyoke-ar00471\" title=\"View the details of this artwork\"><span>AR00471</span></a>) and the four-part series <i>Concentric Bearings </i>1984–5 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-a-ar00469\" title=\"View the details of this artwork\"><span>AR00469</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-d-ar00470\" title=\"View the details of this artwork\"><span>AR00470</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-b-ar00482\" title=\"View the details of this artwork\"><span>AR00482</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-c-ar00483\" title=\"View the details of this artwork\"><span>AR00483</span></a>) all made use of a constellation, galaxy or night sky photographic source. Discussing the artist’s continuing focus in the 1990s on night skies as subject matter for her resurrected painting practice, the art historian Lane Relyea noted that:</p>\n<p class=\"cttext\">\n</p><blockquote>by the 1990s her night-sky paintings, especially the blackest ones, could not appear more dense and flat; more significantly, in them the role of photography seems to have all but disappeared … the tension that she has always sought now exists between a hard surface presence and an image of endless, deepest emptiness.</blockquote>\n<blockquote>(Relyea 2004, p.94.)</blockquote>\n<p>This is an important reminder of Celmins’s trajectory away from a reliance on photographic illusionism and towards a more intimate exploration of surface. In the absolute opacity of its evenly-printed black ink background, <i>December 1984</i> anticipates these later paintings of the night sky, which sought to explore the possibilities of absolute blackness as a signifier of both the flat plane of the paper surface and the rendering of deep space. </p>\n<p>\n<b>Further reading </b>\n<br/>Susan Lambert, <i>Prints: Art and Techniques</i>, London 2001.<br/>Anne Seymour and others, <i>Vija Celmins – Drawings of the Night Sky</i>, exhibition catalogue, Anthony d’Offay Gallery, London 2001. <br/>Samantha Rippner, <i>The Prints of Vija Celmins</i>, exhibition catalogue, Metropolitan Museum of Art, New York 2002, reproduced p.29. <br/>Lane Relyea, Robert Gober and Briony Fer, <i>Vija Celmins</i>, London and New York 2004.</p>\n<p>Stephanie Straine <br/>May 2010</p>\n</div>\n",
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It is the first of four prints, lettered A–D, that make up the <i>Concentric Bearings </i>series (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-a-ar00469\" title=\"View the details of this artwork\"><span>AR00469</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-b-ar00482\" title=\"View the details of this artwork\"><span>AR00482</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-c-ar00483\" title=\"View the details of this artwork\"><span>AR00483</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-d-ar00470\" title=\"View the details of this artwork\"><span>AR00470</span></a>). It was printed and published by Gemini G.E.L. (Graphic Editions Limited) in Los Angeles in an edition of thirty-four plus six artist’s proofs, in collaboration with master printmakers Kenneth Farley and Doris Simmelink. The copy held by ARTIST ROOMS is artist’s proof number 5/6, inscribed at the bottom left corner of the print, and signed by the artist at the bottom right in pencil. </p>\n<p>The narrow rectangular print of a starry sky is based on a found photograph rather than direct observation of the night sky, and has been printed using aquatint. The curator Susan Lambert has described the basic premise of aquatint as ‘a method of etching in tone’ (Lambert 2001, p.60). Etching is an intaglio technique: an incised design where the print surface is sunk beneath the areas that are to remain blank. This print has a lively, textured surface. Looking closely, evidence of the drypoint’s linear engraving is visible. The drypoint needle, often used to retouch and refine an aquatint, here enhances the detailing of the variously shaped stars, whose pinpricks of light are in fact the un-inked white surface of the paper, which contrasts dramatically with the pitch black ink of the deep space that surrounds them. </p>\n<p>The slightly larger accompanying image depicting <i>Rotary Glass Plates (Precision Optics) </i>makes use of photogravure to transfer the soft, greyscale quality of Celmins’s pencil drawing of the photograph into printed form. The artist commented on this process in a 2001 interview with the curator Samantha Rippner, saying: ‘I made a drawing on vellum specifically for the print. I drew the rotary device from a photograph, of course, with all its beautiful lines and shapes, and then transferred the drawing to the plate using photogravure.’ (Quoted in Rippner 2002, p.35.) Explaining this technique of photogravure, Susan Lambert states that it is: </p>\n<p class=\"cttext\">\n</p><blockquote>a process by which a line or tonal image can be transferred photographically to a metal plate in such a way that it can be etched in one operation without stopping out by hand … it is dependent on the characteristics of light-sensitised gelatine. The image is printed on to the gelatine, and then the gelatine is attached to the plate.</blockquote>\n<blockquote>(Lambert 2001, pp.67–8.)</blockquote>\n<p>This multi-stage image development, in which a photograph is translated into a drawing which is then transferred photo-mechanically onto a reprographic printmaking plate, demonstrates the layered complexity of Celmins’s working practices and highlights the ambiguous relationship between hand-drawn and mechanical mark-making in her prints. Duchamp’s motorised work is equally concerned with layering, in the form of a spatial illusion that rotates five separate panes of glass to appear in motion as a series of complete concentric circles. Celmins has also included drawn reproductions of notable works of art in other prints, such as <i>Constellation – Uccello </i>1983 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-constellation-uccello-ar00606\" title=\"View the details of this artwork\"><span>AR00606</span></a>), another dual-image print in the ARTIST ROOMS collection that features the artist’s traced version of the Italian Renaissance artist Paolo Uccello’s <i>Perspective Study of a Chalice </i>c.1430–40 (Uffizzi, Florence). </p>\n<p>\n<i>Concentric Bearings A </i>is the first print in a series of four works that collectively presents four separate plates (two different night sky prints, the Duchamp photogravure, and a grainy image of a falling plane) in different configurations so that no one print contains all images from the series. Prints <i>A </i>and <i>B </i>contain two images each, while <i>C </i>and <i>D </i>have three images. A sequence of repetitions and juxtapositions occur over the series as a whole. Discussing the genesis of the <i>Concentric Bearings </i>series, Celmins has said: </p>\n<p class=\"cttext\">\n</p><blockquote>A sort of theme was developing around describing space … about spirals, concentric circles, the plane spiralling down, the rotary device spinning, the stars turning: a similarity of events. And of course I always liked Duchamp’s piece and also the reproduction through which I found it. I though it was kind of humorous that Duchamp wasn’t going to call his object art, so I put it in something that maybe you would call <i>my </i>art. It’s those little nuances that hold the work together.</blockquote>\n<blockquote>(Quoted in Rippner 2002, pp.34–5.)</blockquote>\n<p>In Concentric Bearings A the two images are small relative to their paper support, which is a large, portrait-oriented sheet. There is more blank paper beneath the plates than above, and the prints appear to float against this large expanse of bare white paper, positioned close together and aligned along their bottom edges. As part of a series of prints that investigates spatial relations, this proportionality is purposeful. The artist has commented on this aspect of her printmaking practice, explaining: </p>\n<p class=\"cttext\">\n</p><blockquote>The paper became an extension of the print. How the print sat on the paper and the peculiar proportion and placement all became the work … My feeling is that every decision about the size of the borders has a corresponding effect on how one perceives the image.</blockquote>\n<blockquote>(Quoted in ibid., p.15.) </blockquote>\n<p>\n<b>Further reading </b>\n<br/>Susan Lambert, <i>Prints: Art and Techniques</i>, London 2001.<br/>Samantha Rippner, <i>The Prints of Vija Celmins</i>, exhibition catalogue, Metropolitan Museum of Art, New York 2002, reproduced p.26.</p>\n<p>Stephanie Straine <br/>June 2010</p>\n</div>\n",
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] | Concentric Bearings D | 1,985 | ARTIST ROOMS Tate and National Galleries of Scotland | 1985 | CLEARED | 4 | support: 457 × 567 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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"content": "<div class=\"text\">\n<p>\n<i>Concentric Bearings D </i>is a three-colour print using mezzotint, aquatint, drypoint and photogravure techniques on Rives BFK paper that brings together prints from three separate plates on a single sheet of paper. The three portrait-oriented prints are ordered in ascending height from left to right. The smallest print shows a grainy image of a falling plane derived from a photograph clipping. In the centre is an image of a starry night sky while the right-hand print replicates a drawing by the artist based on a photograph of <i>Rotary Glass Plates (Precision Optics) </i>1920 (Yale Center for British Art, New Haven, Connecticut) by Marcel Duchamp (1887–1968). It is the last of four prints, lettered A–D, that make up the <i>Concentric Bearings </i>series (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-a-ar00469\" title=\"View the details of this artwork\"><span>AR00469</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-b-ar00482\" title=\"View the details of this artwork\"><span>AR00482</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-c-ar00483\" title=\"View the details of this artwork\"><span>AR00483</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-d-ar00470\" title=\"View the details of this artwork\"><span>AR00470</span></a>). It was printed and published by Gemini G.E.L. (Graphic Editions Limited) in Los Angeles in an edition of thirty-four plus six artist’s proofs, in collaboration with master printmakers Kenneth Farley and Doris Simmelink. The copy held by ARTIST ROOMS is edition number 2/34, inscribed at the bottom left corner of the print, and signed by the artist at the bottom right in pencil. </p>\n<p>The print of the falling plane print is a mezzotint. The curator Susan Lambert describes the mezzotint technique, which Celmins has utilised in numerous prints, as ‘a form of tonal engraving and, because the engraver works from dark to light, it is often described as a negative process’ (Lambert 2001, p.50). It is a soft grey image with scratches on the print surface derived from the original photograph, indicating its age. The falling plane is an ominous symbol of warfare, which resonates with the artist’s childhood emigration from Latvia to the United States as a consequence of the Second World War. Falling planes first appeared in Celmins’s work in the mid-1960s at the height of the Vietnam War in a series of oil paintings that depicted Second World War-era German and American aircraft, such as <i>Suspended Plane </i>1966 (San Francisco Museum of Modern Art). The central night sky image is also based on a found photograph rather than direct observation of the sky. This image has been printed using aquatint, and its background is a deep, pitch black. Susan Lambert has explained the basic premise of aquatint as ‘a method of etching in tone’ (ibid., p.60). Etching is an intaglio technique: an incised design where the print surface is sunk beneath the areas that are to remain blank. This print has a lively, textured surface. Looking closely, evidence of the drypoint’s linear engraving is visible. The drypoint needle, often used to retouch and refine an aquatint, here enhances the detailing of the variously shaped stars, whose pinpricks of light are in fact the un-inked white surface of the paper, which contrasts dramatically with the black ink of the space that surrounds them. There is also a strange diagonal line across the print surface, which could perhaps represent a shooting star, and echoes the diagonal motion of the falling plane. </p>\n<p>The largest image, depicting <i>Rotary Glass Plates (Precision Optics)</i>,<i> </i>makes use of photogravure to transfer the soft, greyscale quality of Celmins’s pencil drawing of the photograph into printed form. The artist commented on this process in a 2001 interview with the curator Samantha Rippner, saying: ‘I made a drawing on vellum specifically for the print. I drew the rotary device from a photograph, of course, with all its beautiful lines and shapes, and then transferred the drawing to the plate using photogravure.’ (Quoted in Rippner 2002, p.35.) Explaining this technique of photogravure, Susan Lambert states that it is: </p>\n<p class=\"cttext\">\n</p><blockquote>a process by which a line or tonal image can be transferred photographically to a metal plate in such a way that it can be etched in one operation without stopping out by hand … it is dependent on the characteristics of light-sensitised gelatine. The image is printed on to the gelatine, and then the gelatine is attached to the plate.</blockquote>\n<blockquote>(Lambert 2001, pp.67–8.)</blockquote>\n<p>This multi-stage image development, in which a photograph is translated into a drawing which is then transferred photo-mechanically onto a reprographic printmaking plate, demonstrates the layered complexity of Celmins’s working practices and highlights the ambiguous relationship between hand-drawn and mechanical mark-making in her prints. Duchamp’s motorised work is equally concerned with layering, in the form of a spatial illusion that rotates five separate panes of glass to appear in motion as a series of complete concentric circles. Celmins has also included drawn reproductions of notable works of art in other prints, such as <i>Constellation – Uccello </i>1983 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-constellation-uccello-ar00606\" title=\"View the details of this artwork\"><span>AR00606</span></a>), another dual-image print in the ARTIST ROOMS collection that features the artist’s traced version of the Italian Renaissance artist Paolo Uccello’s <i>Perspective Study of a Chalice </i>c.1430–40 (Uffizzi, Florence). </p>\n<p>\n<i>Concentric Bearings D </i>is the last print in a series of four works that collectively presents four separate plates (two different night sky prints, the Duchamp photogravure, and the falling plane) in different configurations, so that no one print contains all images from the series. Prints <i>A </i>and <i>B </i>contain two images each, while <i>C </i>and <i>D </i>have three images. A sequence of repetitions and juxtapositions occur over the series as a whole. Discussing the genesis of the <i>Concentric Bearings </i>series, Celmins has said: </p>\n<p class=\"cttext\">\n</p><blockquote>A sort of theme was developing around describing space … about spirals, concentric circles, the plane spiralling down, the rotary device spinning, the stars turning: a similarity of events. And of course I always liked Duchamp’s piece and also the reproduction through which I found it. I though it was kind of humorous that Duchamp wasn’t going to call his object art, so I put it in something that maybe you would call <i>my </i>art. It’s those little nuances that hold the work together.</blockquote>\n<blockquote>(Quoted in Rippner 2002, pp.34–5.)</blockquote>\n<p>In Concentric Bearings D the three images line up along their bottom edges. There are small gaps between the three images, which are positioned low down on the paper, with a large expanse of empty white paper above them. As part of a series of prints that investigates spatial relations, this proportionality is purposeful. The artist has commented on this aspect of her printmaking practice, explaining: </p>\n<p class=\"cttext\">\n</p><blockquote>The paper became an extension of the print. How the print sat on the paper and the peculiar proportion and placement all became the work … My feeling is that every decision about the size of the borders has a corresponding effect on how one perceives the image.</blockquote>\n<blockquote>(Quoted in ibid., p.15.) </blockquote>\n<p>\n<b>Further reading </b>\n<br/>Susan Lambert, <i>Prints: Art and Techniques</i>, London 2001.<br/>Samantha Rippner, <i>The Prints of Vija Celmins</i>, exhibition catalogue, Metropolitan Museum of Art, New York 2002, reproduced p.27. </p>\n<p>Stephanie Straine <br/>July 2010</p>\n</div>\n",
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] | Mount Holyoke | 1,987 | ARTIST ROOMS Tate and National Galleries of Scotland | 1987 | CLEARED | 4 | frame: 342 × 424 × 39 mm
image: 193 × 247 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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The artist began work on the etching plate which would be used to edition this print in 1986 while in residency at the printmaking workshop of Mount Holyoke College in Massachusetts. However, as the art historians Richard Field and Ruth Fine have noted, ‘several months of further work in the artist’s studio were required before it was completed’ (Field and Fine 1987, p.60). This comment refers to the print <i>Untitled Galaxy</i>, an identical etching in an edition of ten that is dated 1986, a year prior to the date of <i>Mount Holyoke</i>. It is likely that the artist decided to reuse the etching plate to print and publish another edition, renaming the work after the place where it was conceived and developed. </p>\n<p>Etching is an intaglio print technique, meaning that it is an incised design where the print surface is sunk beneath the areas that are to remain blank. The print curator Antony Griffiths explains the essential principle of etching: </p>\n<p class=\"cttext\">\n</p><blockquote>The metal of the plate is removed by eating into it with acid rather than by cutting it out with a tool as in engraving. The plate is coated with a ground impervious to acid through which the artist draws so as to expose the metal. The whole plate is then immersed in acid until the lines are sufficiently bitten. Finally the ground is removed and the plate inked and printed in the usual intaglio way.</blockquote>\n<blockquote>(Griffiths 1996, p.56.) </blockquote>\n<p>The background of this night sky image is not an even coating of black printer’s ink, but is instead pitted with marks or, more accurately, it is a dense cross-hatching of etched lines, with the stars formed by the areas of the plate left untouched by the etching needle. It appears almost like a woven surface, suggestive of a fabric with many small holes between its linear construction. The print is contained by a double margin, both plate-mark and image border, a standard practice for Celmins who believes this definite edge emphasises the constructed and contained nature of her work. </p>\n<p>‘Her prints, like her graphite drawings, address her intense concern with the surface on which she works, her testing of the picture plane and of pictorial depth.’ (Field and Fine 1987, p.59.) This notion of testing or experimentation is particularly apt for <i>Mount Holyoke</i>, a print that was begun at an art college residency, and whose technical requirements necessitated a prolonged and close involvement with the etching plate surface. It is one of seven prints of varying techniques in ARTIST ROOMS that are exclusively devoted to rearticulating a night sky photograph. They relate to an important series of charcoal on paper works with which Celmins returned to her drawing practice in the mid-1990s, including <i>Night Sky #19 </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-night-sky-19-ar00163\" title=\"View the details of this artwork\"><span>AR00163</span></a>). The art historian Briony Fer has commented that:</p>\n<p class=\"cttext\">\n</p><blockquote>If <i>Night Sky #19 </i>is a drawing of anything, it is a drawing of a photograph culled from an astronomy book … Whilst I don’t think the effect of her work is to make us feel lost in the enormity of a sky we could say that we do get lost in translation between photography and drawing and painting. These are the translations that seem to interest her most.</blockquote>\n<blockquote>(Fer 2004, p.102.)</blockquote>\n<p>Printmaking can be understood as the next link in the artist’s chain of photographic translations, transfers and technical transitions. In works such as <i>Mount Holyoke</i>, printmaking enables an amalgamation of hand-worked surface (the needle drawing into the etching plate) and mechanical reproduction (the multiple prints produced from the single plate), which further resonates with the artist’s interest in seriality and the repeating, reusable night sky motif. </p>\n<p>\n<b>Further reading </b>\n<br/>Richard S. Field and Ruth E. Fine, <i>A Graphic Muse: Prints by Contemporary American Women</i>, exhibition catalogue, Mount Holyoke College Art Museum, South Hadley, Massachusetts 1987, reproduced p.4. <br/>Antony Griffiths, <i>Prints and Printmaking: An Introduction to the History and Techniques</i>, London 1996.<br/>Briony Fer, ‘Focus – <i>Night Sky #19 </i>1998’, in Lane Relyea, Robert Gober and Briony Fer, <i>Vija Celmins</i>, London and New York 2004, pp.102–7.</p>\n<p>Stephanie Straine <br/>May 2010</p>\n</div>\n",
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"content": "<p>Celmins's intense monochromatic images of the night sky, based on photographs, focus on small and individual marks in the context of vastness. The images seem fragile because they record a specific human glimpse through a telescope or camera which is ephemeral and frozen in time. Celmins's serial exploration of her subjects, including the night sky, allows the artist to exploit the distinct characteristics of the variety of media she uses. Celmins participated in a print exhibition and a printmaking workshop at Mount Holyoke College, a liberal arts college for women in Massachusetts in 1987.</p>\n",
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] | <p><span>Untitled (Source Materials)</span> is a full colour Iris print on paper that depicts a pile of newspaper clippings and photographic images. These source materials include lunar surfaces, galaxies, planets, oceans, falling planes and nuclear experiments that have all featured in Vija Celmins’s drawings, paintings and prints from the mid-1960s onwards. <span>Untitled (Source Materials)</span> was printed in an edition of one hundred plus artist’s proofs. The copy held by ARTIST ROOMS is edition number 76/100, noted at the bottom left corner of the print, and it is signed and dated by the artist at the bottom right corner in pencil.<span> </span></p> | false | 1 | 2731 | paper print iris | [
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] | Untitled (Source Materials) | 1,999 | ARTIST ROOMS Tate and National Galleries of Scotland | 1999 | CLEARED | 4 | image: 357 × 309 mm
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"content": "<div class=\"text\">\n<p>\n<i>Untitled (Source Materials)</i> is a full colour Iris print on paper that depicts a pile of newspaper clippings and photographic images. These source materials include lunar surfaces, galaxies, planets, oceans, falling planes and nuclear experiments that have all featured in Vija Celmins’s drawings, paintings and prints from the mid-1960s onwards. <i>Untitled (Source Materials)</i> was printed in an edition of one hundred plus artist’s proofs. The copy held by ARTIST ROOMS is edition number 76/100, noted at the bottom left corner of the print, and it is signed and dated by the artist at the bottom right corner in pencil.<i> </i>\n</p>\n<p>An Iris print is a form of high-resolution inkjet printing that enables photographic reproduction through the scanning of contact sheets or other photographic material in combination with various digital imaging techniques. It was originally associated with commercial and industrial printing, but is now widely used as a form of fine art printmaking. Iris prints are also referred to as Giclée prints. The photographs and clippings featured in Untitled (Source Materials) were selected from the artist’s large collection of paper ephemera, hoarded by Celmins over the course of thirty or more years. They were then scanned individually, cleaned digitally, and assembled to produce a file enlargement, which was printed as a single inkjet print in one process. Iris is therefore a digital reproduction technique unlike traditional printmaking methods such as etching, lithography or photogravure that concern Celmins’s printmaking at large (for example Jupiter Moon – Constellation 1983, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-jupiter-moon-constellation-ar00481\" title=\"View the details of this artwork\"><span>AR00481</span></a>). As the art historian Susan Tallman notes in her history of post-war printmaking, ‘ink-jet or laser-printed images are not properly “prints”: there is no fixed matrix, no physical press of paper against a template’ (Tallman 1996, p.214). Nonetheless, this digital work clearly has a direct relationship to the wider body of traditional prints in Celmins’s oeuvre (of which there are numerous examples in ARTIST ROOMS), while also indicating the artist’s willingness to make use of new technologies to record and interrogate her image-based practice. </p>\n<p>Celmins began her career in the early 1960s painting the household objects of her Venice Beach studio in cool grey tones, for example <i>Lamp #1 </i>1964 (reproduced in Relyea 2004, p.47). It was towards the end of that decade that she replaced this direct observation of three-dimensional objects with a focus on the flat, subject-mediated plane of photography. The art historian Lane Relyea has observed:</p>\n<p class=\"cttext\">\n</p><blockquote>It wasn’t long after Celmins adopted the photograph as her subject matter that she began rummaging for – and taking her own snapshots of – flat, all-over fields. After 1966 the only objects she allowed herself to render on paper or canvas were flat – a letter, say, or a picture torn from a book.</blockquote>\n<blockquote>(Relyea 2004, p.78.)</blockquote>\n<p>Untitled (Source Materials) shows a variety of Celmins’s own photography and culled media images. With its layered, overlapping composition and high resolution photographic finish, this print achieves the credible <i>trompe l’oeil</i> illusion of many pieces of paper piled one atop the other, suggestive of the haphazard arrangement of materials lying about the artist’s studio. Although the source materials are all black and white images, the colour print reproduces creamy newsprint textures and the yellowing masking tape with which the artist manually cropped her images, shown attached to several clippings. Included are images with text, and one lunar surface image with numerical data and a scale along its margins. A grainy image of Saturn is the smallest clipping, on the very top of the pile, followed by further desert and constellation images in varying states of decay and damage. Celmins, in a 1991 conversation with the artist Chuck Close, admitted that her photographic sources are ‘very tiny and dog-eared’, and this is readily apparent in Untitled (Source Materials) (quoted in Bartman 1992, p.36). The Iris print technique foregrounds the delicate paper materiality of the source materials, reproducing their creases, folds, torn edges and tatty conditions in crisp detail. </p>\n<p>Celmins, discussing with Close the use of photography as a methodology for her practice, stated: ‘The photograph is an alternate subject, another layer that creates distance. And distance creates an opportunity to view the work more slowly and to explore your relationship to it. I treat the photograph as an object, an object to scan.’ (Quoted in ibid., p.12.) Untitled (Source Materials) reproduces Celmins’s source materials at their actual size. When the artist utilises one of her clippings to produce a painting or drawing from its photographic information, such as <i>Night Sky #19 </i>1998 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-night-sky-19-ar00163\" title=\"View the details of this artwork\"><span>AR00163</span></a>), that image is translated into a form that multiplies the scale of the original photographic object. The artist’s scanning of this object therefore involves enlargement, surface redescription, and a mode of simultaneous looking and drawing. <i>Untitled – Source Materials </i>reveals to the viewer the many potential starting points of that process.</p>\n<p>\n<b>Further reading </b>\n<br/>Susan Tallman, <i>The Contemporary Print from Pre-Pop to Postmodern</i>, London 1996.<br/>William S. Bartman (ed.), <i>Vija Celmins Interviewed by Chuck Close</i>, New York 1992.<br/>Lane Relyea, ‘Vija Celmins’ Twilight Zone’, in Lane Relyea, Robert Gober and Briony Fer, <i>Vija Celmins</i>, London and New York 2004, pp.46–99.</p>\n<p>Stephanie Straine<br/>June 2010</p>\n</div>\n",
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] | Ocean Surface Wood Engraving 2000 | 2,000 | ARTIST ROOMS Tate and National Galleries of Scotland | 2000 | CLEARED | 4 | image: 207 × 257 mm
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"content": "<div class=\"text\">\n<p>Ocean Surface Wood Engraving 2000 <i>is a wood engraving of ocean waves on Zerkall paper, printed and published by The Grenfell Press, New York in an edition of seventy-five prints plus artist’s proofs. The copy held by ARTIST ROOMS is signed and dated by the artist at the bottom right corner, along with the inscription 54/75 at the bottom left, recording its numerical place within the edition. </i>The artist Vija Celmins has described the process of making this particular print:</p>\n<p class=\"cttext\">\n</p><blockquote>This work is done with an engraving tool … The idea is that you carve the wood, take a roller, put black paint on it, put a paper on it, run it through the press … What we did is put the image, which I took many years ago, on the wood itself with an emulsion so that I would be able to see the image. As soon as you start carving, the wood underneath is white and then you see how you’re drawing it. Then, of course, we print it and it all goes black. </blockquote>\n<blockquote>(Quoted in Sollins 2003, pp.172–3.)</blockquote>\n<p>This is a very small image relative to the size of the paper on which it has been printed, the proportions emphasising the level of fine detailing and complexity achieved on such a miniature woodblock. As a wood engraving it is much more decorative and graphic than the majority of prints by Vija Celmins, which often use a photo-mechanical transfer technique such as photogravure to directly reproduce drawings onto the metal plate surface. At a distance, these prints achieve a degree of photo-illusionism, whereas <i>Ocean Surface Wood Engraving 2000 </i>is more clearly recognisable as a handmade wood engraving. Nonetheless, the artist remains interested in cultivating a suspended relationship between the decorative and the photographic in this work. Discussing this particular print in 2002, Celmins stated: </p>\n<p class=\"cttext\">\n</p><blockquote>My wood engraving has that slightly old, superficial look to it, but when you look closer you can see my mark is not mechanical. I hope it’s a work where stillness and movement, flatness and depth, are held together in a delicate balance. I like to hide things behind looks, so that the work first looks like a photograph but when you get up close you see it’s something handmade and carved from wood: a kind of surprise.</blockquote>\n<blockquote>(Quoted in Rippner 2002, pp.41–3.)</blockquote>\n<p>Unlike Celmins’s mezzotint and aquatint prints such as <i>Untitled (Web 1)</i> 2001 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-untitled-web-1-ar00476\" title=\"View the details of this artwork\"><span>AR00476</span></a>), this wood engraving does not print in greyscale tonalities: the image is composed only of black inked areas and the engraved, therefore un-inked, lines of the ivory-coloured paper. Towards the top edge of the print, the inked portions are reduced to incredibly small dots and dashes, which together suggest waves seen at a distance. The print is blackest at its bottom right corner, where less wood has been cut away, and lightest diagonally opposite at the top left, where Celmins has engraved many closely aligned repeating incisions into the wood. The rhythmic ocean entirely fills the printed surface, with no horizon line or sky visible, although it does recede perspectivally on a steeply-inclined picture plane. This rectangular section of ocean is presented anonymously, with no indicators of geographic location, weather conditions or time of day. The representational subject matter of the ocean becomes a means through which to test the limits and possibilities of the printmaking surface.</p>\n<p>This ocean image is based on one of a group of photographs of the Pacific Ocean, taken by the artist near her home in California in the late 1960s. The first works to derive from these ocean photographs were a series of graphite pencil on paper drawings in 1968 that experimented with variations in the density and tone of graphite across the various photographic iterations, such as <i>Untitled (Ocean) </i>1968 (reproduced in Lingwood 1996, p.57). The artist retained these photographs to use in her prints many years later, such as Ocean Surface Wood Engraving 2000. Within the extensive group of prints by Celmins in ARTIST ROOMS there are two other works that utilise the ocean motif, and in all likelihood the same source photographs from the 1960s, as the starting point for the printed image. These are <i>Drypoint – Ocean Surface </i>1983 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-drypoint-ocean-surface-ar00467\" title=\"View the details of this artwork\"><span>AR00467</span></a>) and Ocean Surface Woodcut 1992 1992 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-ocean-surface-woodcut-1992-ar00484\" title=\"View the details of this artwork\"><span>AR00484</span></a>). Along with Ocean Surface Wood Engraving 2000, these works demonstrate the persistence and longevity of the ocean image as subject matter, migrating to different printmaking techniques in the artist’s practice over three consecutive decades.</p>\n<p>Referring to this work, the only wood engraving Celmins has thus far undertaken, the artist revealed: </p>\n<p class=\"cttext\">\n</p><blockquote>It was very hard for me to keep my imagination in that space for so long. In a way, that print is a record of an incredible amount of attention that someone could pay to a tiny surface to make it coherent and maybe even interesting to look at. When I’m out of it, like now, I can’t imagine ever having done it.</blockquote>\n<blockquote>(Quoted in Rippner 2002, p.45.)</blockquote>\n<p>\n<b>Further reading </b>\n<br/>James Lingwood (ed.), <i>Vija Celmins: Works 1964–96</i>, exhibition catalogue, Institute of Contemporary Arts, London 1996.<br/>Samantha Rippner, <i>The Prints of Vija Celmins</i>, exhibition catalogue, Metropolitan Museum of Art, New York 2002, reproduced p.39. <br/>Susan Sollins, ‘Vija Celmins’, in <i>Art 21: Art in the Twenty-First Century 2</i>, New York 2003, pp.162–73, reproduced p.172. </p>\n<p>Stephanie Straine <br/>May 2010</p>\n</div>\n",
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It forms a pair with <i>Night Sky 2 Reversed </i>2002 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-night-sky-2-reversed-ar00475\" title=\"View the details of this artwork\"><span>AR00475</span></a>), of which the copy held by ARTIST ROOMS has a matching edition number, 34/65.</p>\n<p>The star-filled composition of this print – as is the case with the majority of Vija Celmins’s drawings, prints and paintings – is based on a photograph rather than direct observation of the night sky. Among the works by Celmins in ARTIST ROOMS, this strand of starry imagery is prominent: prints like <i>Mount Holyoke </i>1987 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-mount-holyoke-ar00471\" title=\"View the details of this artwork\"><span>AR00471</span></a>), the four-part series <i>Concentric Bearings </i>1984–5 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-a-ar00469\" title=\"View the details of this artwork\"><span>AR00469</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-d-ar00470\" title=\"View the details of this artwork\"><span>AR00470</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-b-ar00482\" title=\"View the details of this artwork\"><span>AR00482</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-c-ar00483\" title=\"View the details of this artwork\"><span>AR00483</span></a>), and the charcoal drawing <i>Night Sky #19 </i>1998 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-night-sky-19-ar00163\" title=\"View the details of this artwork\"><span>AR00163</span></a>) all make use of a constellation, galaxy or night sky photographic source. The artist has discussed her relationship to these source materials: </p>\n<p class=\"cttext\">\n</p><blockquote>I have millions of night sky images and they’re all unsatisfactory. They’re all flat photographs and they’re printed. I like that printed quality. It’s my job to make them satisfying and put them in the real world as real textural objects. I’m redescribing the image in another medium that’s real, that has some substance. </blockquote>\n<blockquote>(Quoted in Seymour 2001, p.55.) </blockquote>In its visual and textural redescription of the night sky image, <i>Night Sky 1 Reversed </i>combines four different printmaking techniques, with each method applied to the copper etching plate separately. The first is photoetching: an intaglio process that coats the plate with a light-sensitive ground which is then exposed to a photographic image and etched with acid (see Gemini G.E.L. Online Catalogue Raisonné, National Gallery of Art, Washington, D.C., <a href=\"http://www.nga.gov/gemini/glossary.htm\">http://www.nga.gov/gemini/glossary.htm</a>, accessed 22 June 2010). This is followed by aquatint, a ‘method of etching in tone’ that produces a print quality similar to a watercolour wash, and is here used to achieve a finely textured surface onto which the photogravure process is transferred using light-sensitive gelatine and water immersion (see Lambert 2001, pp.60, 67). The final stage involves drypoint. This is an intaglio engraving technique, which means that the design is incised and the ink is sunk into the resulting grooves beneath the surface of the metal plate (see ibid., p.38). Drypoint is essentially a form of linear mark-making, and in Night Sky 1 Reversed it has been used to create a final layer of scratched, uneven marks upon the vast star field, which perhaps suggest other details from the photographic surface rather than features of the astronomical field, most noticeably a long line positioned diagonally across the plate that evokes a scratch on the photograph’s negative. This print has a double margin: inside the rectangular impression of the plate mark there is a hand-drawn and slightly irregular inked border line, from where the image begins. This dual reinforcement of the contained image plane is a reminder of the image’s photographic origins – the vast, dispersed field of stars cannot spread out infinitely, as it is restricted by the definite limits of the foundational rectangle of information, selected by the camera’s viewfinder and recorded on the negative film. <br/>The stars in this night sky resemble ink stains: they have lost almost all visual relation to a photographic depiction of stars. The image in reverse therefore nears total abstraction, looking from a distance like paint splattered across the paper, except that this irregular distribution is fully contained by the strict borders of the print. Nonetheless, the very fact of the night sky’s reversal points back to the photographic origins of the work – mimicking the negative processes of photography in which the image is captured on film in reverse, as a negative trace. In conversation with the curator Anne Seymour, the artist commented that:\n<p class=\"cttext\">\n</p><blockquote>one of the things about the night sky images was the image became a little more abstract and a little less specific. By making a drawing in a very careful and sensuous way, I think <i>that’s</i> where the specificness goes. It’s really a drawing first, and second there’s an image kind of emerging from it.</blockquote>\n<blockquote>(Quoted in Seymour 2001, p.54.)</blockquote>\n<p>This comment holds equally true of this print, where the complex relationship between the variously achieved set of engraved, etched and photo-mechanically produced marks is given precedence over the specificities of the night sky detailing, and indeed the photograph itself.</p>\n<p>\n<i>Jupiter Moon – Constellation</i> 1983 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-jupiter-moon-constellation-ar00481\" title=\"View the details of this artwork\"><span>AR00481</span></a>)<i> </i>is a dual-image print combining mezzotint and etching that depicts a photograph of one of Jupiter’s moons together with a constellation image in reverse. Celmins has remarked of <i>Jupiter Moon – Constellation</i> that ‘the Jupiter moon is such a fabulous image, which I found in one of my travels through bookstores looking at pictures. At the bottom of that print is a reversed galaxy, an image that I’m interested in again now’ (quoted in Rippner 2002, p.23). This final comment refers to works such as Night Sky 1 Reversed and its partner print <i>Night Sky 2 Reversed</i>, which were produced almost twenty years after this first appearance of the inverse constellation motif. The reversed night sky also features in a painting made one year before these two prints, <i>Night Sky #18 </i>2000–1 (reproduced in Lane Relyea, Robert Gober and Briony Fer, <i>Vija Celmins</i>, London and New York 2004, p.141). These works demonstrate the persistence and longevity of this subject matter, migrating to different facets of the artist’s practice across a substantial period of time.</p>\n<p>\n<b>Further reading </b>\n<br/>Susan Lambert, <i>Prints: Art and Techniques</i>, London 2001.<br/>Anne Seymour and others, <i>Vija Celmins – Drawings of the Night Sky</i>, exhibition catalogue, Anthony d’Offay Gallery, London 2001.<br/>Samantha Rippner, <i>The Prints of Vija Celmins</i>, exhibition catalogue, Metropolitan Museum of Art, New York 2002, reproduced p.42. </p>\n<p>Stephanie Straine <br/>June 2010</p>\n</div>\n",
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It forms a pair with <i>Night Sky 1 Reversed </i>2002 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-night-sky-1-reversed-ar00474\" title=\"View the details of this artwork\"><span>AR00474</span></a>), of which the copy held by ARTIST ROOMS has a matching edition number, 34/65.</p>\n<p>The star-filled composition of this print – as is the case with the majority of Vija Celmins’s drawings, prints and paintings – is based on a photograph rather than direct observation of the night sky. Among the works by Celmins in ARTIST ROOMS, this strand of starry imagery is prominent: prints like <i>Mount Holyoke </i>1987 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-mount-holyoke-ar00471\" title=\"View the details of this artwork\"><span>AR00471</span></a>), the four-part seroes <i>Concentric Bearings </i>1984–5 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-a-ar00469\" title=\"View the details of this artwork\"><span>AR00469</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-d-ar00470\" title=\"View the details of this artwork\"><span>AR00470</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-b-ar00482\" title=\"View the details of this artwork\"><span>AR00482</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-c-ar00483\" title=\"View the details of this artwork\"><span>AR00483</span></a>), and the charcoal drawing <i>Night Sky #19 </i>1998 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-night-sky-19-ar00163\" title=\"View the details of this artwork\"><span>AR00163</span></a>) all make use of a constellation, galaxy or night sky photographic source. The artist has discussed her relationship to these source materials: </p>\n<p class=\"cttext\">\n</p><blockquote>I have millions of night sky images and they’re all unsatisfactory. They’re all flat photographs and they’re printed. I like that printed quality. It’s my job to make them satisfying and put them in the real world as real textural objects. I’m redescribing the image in another medium that’s real, that has some substance. </blockquote>\n<blockquote>(Quoted in Seymour 2001, p.55.) </blockquote>In its visual and textural redescription of the night sky image, <i>Night Sky 2 Reversed </i>combines four different printmaking techniques, with each method applied to the copper etching plate separately. The first is photoetching: an intaglio process that coats the plate with a light-sensitive ground which is then exposed to a photographic image and etched with acid (see Gemini G.E.L. Online Catalogue Raisonné, National Gallery of Art, Washington, D.C., <a href=\"http://www.nga.gov/gemini/glossary.htm\">http://www.nga.gov/gemini/glossary.htm</a>, accessed 22 June 2010). This is followed by aquatint, a ‘method of etching in tone’ that produces a print quality similar to a watercolour wash, and is here used to achieve a finely textured surface onto which the photogravure process is transferred using light-sensitive gelatine and water immersion (see Lambert 2001, pp.60, 67). The final stage involves drypoint. This is an intaglio engraving technique, which means that the design is incised and the ink is sunk into the resulting grooves beneath the surface of the metal plate (see ibid., p.38). Drypoint is essentially a form of linear mark-making, and in <i>Night Sky 2 Reversed</i> it has been used to render the smallest and most detailed black ink stars. This print has a double margin: inside the rectangular impression of the plate mark there is a hand-drawn and slightly irregular inked border line, from where the image begins. This dual reinforcement of the contained image plane is a reminder of the image’s photographic origins – the vast, dispersed field of stars cannot spread out infinitely, as it is restricted by the definite limits of the foundational rectangle of information, selected by the camera’s viewfinder and recorded on the negative film. <br/>Unlike its partner print, in Night Sky 2 Reversed there is very little incidental linear marking of the plate surface, with a more even coverage to the background. The star ink spots look especially painterly, and yet the endlessness of the sky is given a restrictive frame. The print represents a vast, far away section of space, but the stars appear like miniscule marks, closer to a random, abstract pattern than an astronomical rendering. Half of the stars appear etched, half appear to derive from photogravure (these have more tonal variation). Looking closely it is possible to see the tiny particles that comprise the celestial matter. It is highly granular, reinforcing Celmins’s claim to create ‘real textural objects’ from her photographic sources. In conversation with the curator Anne Seymour, the artist commented that:\n<p class=\"cttext\">\n</p><blockquote>one of the things about the night sky images was the image became a little more abstract and a little less specific. By making a drawing in a very careful and sensuous way, I think <i>that’s</i> where the specificness goes. It’s really a drawing first, and second there’s an image kind of emerging from it.</blockquote>\n<blockquote>(Quoted in Seymour 2001, p.54.)</blockquote>\n<p>This comment holds equally true of this print, where the complex relationship between the variously achieved set of engraved, etched and photo-mechanically produced marks is given precedence over the specificities of the night sky detailing, and indeed the photograph itself.</p>\n<p>\n<i>Jupiter Moon – Constellation</i> 1983 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-jupiter-moon-constellation-ar00481\" title=\"View the details of this artwork\"><span>AR00481</span></a>)<i> </i>is a dual-image print combining mezzotint and etching that depicts a photograph of one of Jupiter’s moons together with a constellation image in reverse. Celmins has remarked of <i>Jupiter Moon – Constellation</i> that ‘the Jupiter moon is such a fabulous image, which I found in one of my travels through bookstores looking at pictures. At the bottom of that print is a reversed galaxy, an image that I’m interested in again now’ (quoted in Rippner 2002, p.23). This final comment refers to works such as <i>Night Sky 1 Reversed</i> and <i>Night Sky 2 Reversed</i>, which were produced almost twenty years after this first appearance of the inverse constellation motif. The reversed night sky also features in a painting made one year before these two prints, <i>Night Sky #18 </i>2000–1 (reproduced in Lane Relyea, Robert Gober and Briony Fer, <i>Vija Celmins</i>, London and New York 2004, p.141). These works demonstrate the persistence and longevity of this subject matter, migrating to different facets of the artist’s practice across a substantial period of time.</p>\n<p>\n<b>Further reading </b>\n<br/>Susan Lambert, <i>Prints: Art and Techniques</i>, London 2001.<br/>Anne Seymour and others, <i>Vija Celmins – Drawings of the Night Sky</i>, exhibition catalogue, Anthony d’Offay Gallery, London 2001.<br/>Samantha Rippner, <i>The Prints of Vija Celmins</i>, exhibition catalogue, Metropolitan Museum of Art, New York 2002, reproduced p.46. </p>\n<p>Stephanie Straine <br/>June 2010</p>\n</div>\n",
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frame: 497 × 412 × 37 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
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"content": "<div class=\"text\">\n<p>\n<i>Untitled (Web 1) </i>is a mezzotint print of a spider’s web on Hahnemühle Copperplate paper. It was printed and published by Lapis Press, Los Angeles, in an edition of eighty plus twelve artist’s proofs numbered 1–12 and a further fifteen artist’s proofs numbered I–XV. The copy held by ARTIST ROOMS is the final artist’s proof and is inscribed ‘AP XV/XV’ at the bottom left corner and signed by the artist at the bottom right corner in pencil. Artist’s proofs are identical in appearance to the numbered edition but are usually printed beforehand with the artist and publisher retaining most, if not all, of these proofs. The subject matter of this print – as is the case with the majority of Vija Celmins’s drawings, prints and paintings – is based on a photograph of a spider’s web rather than the direct observation of nature. The art historian Susan Lambert has outlined the basic tenets of mezzotint as a technique, one which Celmins has utilised in numerous prints, writing: </p>\n<p class=\"cttext\">\n</p><blockquote>Mezzotint is a form of tonal engraving and, because the engraver works from dark to light, it is often described as a negative process. The plate is prepared so that it will print an even, deep black. This is done by pitting its surface systematically with a serrated chisel-like tool, known as a rocker, which raises a uniform burr. The design is formed by smoothing the burr so that different areas of the plate will hold different quantities of ink and therefore print different tones of grey … Highlights are achieved by burnishing the plate quite smooth so that when it is wiped no ink remains on these areas. </blockquote>\n<blockquote>(Susan Lambert, <i>Prints: Art and Techniques</i>, London 2001, p.50.)</blockquote>\n<p>This is a small, landscape-oriented print on a much larger sheet of portrait paper, the dense black tones achieved by its highly-inked plate enhanced by the vast expanse of white paper that surrounds it. It is one of four numbered <i>Untitled (Web) </i>prints by Celmins in ARTIST ROOMS that utilise various printmaking techniques, presenting a series of four different web formations (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-untitled-web-1-ar00476\" title=\"View the details of this artwork\"><span>AR00476</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-untitled-web-4-ar00479\" title=\"View the details of this artwork\"><span>AR00479</span></a>). There is a gradual shift from <i>Untitled (Web 1) </i>to <i>Untitled (Web 4)</i> in the character of these printed webs: from a high contrast, carefully delineated construction to a blurry, greyscale image in which the gossamer threads seem to recede into the darkness, hardly differentiated at all. The threads of Untitled (Web 1) are certainly the crispest and most defined of the series, and this print also has the blackest background. The web stretches between all four edges of the plate in a distorted trapezoid shape. The web appears taut and quite regular, and is highlighted at its apex point as if struck by a beam of light. The tonal mezzotint background is smooth and even, yet almost pixellated in its regular precision, echoing the reproduced, photographic source material. This work relates to the series of web charcoal on paper drawings which Celmins begun in the late 1990s with <i>Web #1 </i>1999 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-web-1-ar00164\" title=\"View the details of this artwork\"><span>AR00164</span></a>). Stressing the interrelation between her drawing and printmaking practices, in particular the mezzotint <i>Web </i>prints, Celmins has commented: </p>\n<p class=\"cttext\">\n</p><blockquote>I believe working on the mezzotint, which I found to be very bizarre at first – working from black to white – influenced all those charcoal drawings. I started the drawings because I was beginning to think my painting was getting too concentrated, too tight, and I wanted to make work that was a little more open, maybe get more gesture in there with my hand.</blockquote>\n<blockquote>(Quoted in Rippner 2002, p.28.)</blockquote>\n<p>Crediting the print technique with a productive effect on her use of charcoal, the artist underlines their shared status as negative processes – in the drawing, there is a gradual uncovering of the white paper surface as the charcoal is erased, and in the working up of a mezzotint the plate undergoes a tonal progression from dark to light. Indeed, these reversals also refer back to the works’ source material – mimicking photography – in which the image is captured on film in reverse as a negative trace. Celmins has said of the web that: ‘It’s an image that’s got a lot of associations with it, which I put in this very cold, scientific kind of dressing that I like to put my work in … you know, just the facts. I was seeing whether I could put an image that’s so charged emotionally in this kind of context.’ (Quoted in Sollins 2003, p.171.) This renunciation of overt interpretations and effacement of emotional or theatrical presence is fundamental to the artist’s approach to her photographic subjects, which also include night skies, oceans and vast expanses of desert. </p>\n<p>In conversation with fellow artist Robert Gober in 2002, Celmins further explained her personal relationship to the spider web, both as an image and as a material presence: </p>\n<p class=\"cttext\">\n</p><blockquote>[R]ecently I’ve picked up this spider web image, which is an image that’s very, very fragile, and implies something maybe more broken, more old, more tenuous … I found them in science images and I was drawn to them … I’ve been letting the cobwebs grow and am very delighted that, somehow, from the pictures in books they’ve come out in the real world.</blockquote>\n<blockquote>(Quoted in Gober 2004, p.25.)</blockquote>\n<p>\n<b>Further reading </b>\n<br/>Samantha Rippner, <i>The Prints of Vija Celmins</i>, exhibition catalogue, Metropolitan Museum of Art, New York 2002, reproduced p.40.<br/>Susan Sollins, ‘Vija Celmins’, in <i>Art 21: Art in the Twenty-First Century 2</i>, New York 2003, pp.162–73, reproduced p.170. <br/>‘Robert Gober in Conversation with Vija Celmins’, in Lane Relyea, Robert Gober and Briony Fer, <i>Vija Celmins</i>, London and New York 2004, pp.8¿–38.</p>\n<p>Stephanie Straine <br/>June 2010</p>\n</div>\n",
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] | <p><span>Untitled (Web 2) </span>is a mezzotint print of a spider’s web on Hahnemühle Copperplate paper. It was printed and published by Lapis Press, Los Angeles, in an edition of fifty plus ten artist’s proofs. The copy held by ARTIST ROOMS is edition number 7/50, inscribed at the bottom left corner of the print, and signed by the artist at the bottom right corner in pencil. The subject matter of this print – as is the case with the majority of Vija Celmins’s drawings, prints and paintings – is based on a photograph of a spider’s web rather than the direct observation of nature. The art historian Susan Lambert has outlined the basic tenets of mezzotint as a technique, one which Celmins has utilised in numerous prints, writing:</p> | false | 1 | 2731 | paper print mezzotint | [
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] | Untitled (Web 2) | 2,001 | ARTIST ROOMS Tate and National Galleries of Scotland | 2001 | CLEARED | 4 | image: 177 × 194 mm
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"content": "<div class=\"text\">\n<p>\n<i>Untitled (Web 2) </i>is a mezzotint print of a spider’s web on Hahnemühle Copperplate paper. It was printed and published by Lapis Press, Los Angeles, in an edition of fifty plus ten artist’s proofs. The copy held by ARTIST ROOMS is edition number 7/50, inscribed at the bottom left corner of the print, and signed by the artist at the bottom right corner in pencil. The subject matter of this print – as is the case with the majority of Vija Celmins’s drawings, prints and paintings – is based on a photograph of a spider’s web rather than the direct observation of nature. The art historian Susan Lambert has outlined the basic tenets of mezzotint as a technique, one which Celmins has utilised in numerous prints, writing:</p>\n<p class=\"cttext\">\n</p><blockquote>Mezzotint is a form of tonal engraving and, because the engraver works from dark to light, it is often described as a negative process. The plate is prepared so that it will print an even, deep black. This is done by pitting its surface systematically with a serrated chisel-like tool, known as a rocker, which raises a uniform burr. The design is formed by smoothing the burr so that different areas of the plate will hold different quantities of ink and therefore print different tones of grey. A scraper is used to remove large areas of burr, and a burnisher for more delicate work. Highlights are achieved by burnishing the plate quite smooth so that when it is wiped no ink remains on these areas. </blockquote>\n<blockquote>(Susan Lambert, <i>Prints: Art and Techniques</i>, London 2001, p.50.)</blockquote>\n<p>This is a small, landscape-oriented print on a much larger sheet of portrait paper, its rich grey tonal values heightened by the vast expanse of surrounding white paper. It is one of four numbered <i>Untitled (Web) </i>prints by Celmins in ARTIST ROOMS that utilise various printmaking techniques, presenting a series of four different web formations (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-untitled-web-1-ar00476\" title=\"View the details of this artwork\"><span>AR00476</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-untitled-web-4-ar00479\" title=\"View the details of this artwork\"><span>AR00479</span></a>). There is a gradual shift from <i>Untitled (Web 1) </i>to <i>Untitled (Web 4)</i> in the character of these printed webs: from a high contrast, carefully delineated construction to a blurry, greyscale image in which the gossamer threads seem to recede into the darkness, hardly differentiated at all. In Untitled (Web 2) the web fills almost the whole picture plane, with very little empty background space, the largest area being in the lower left corner. The image prints closest to black along the top edge, with a definite lightening of the web towards the lower edge of the print. The repeating circular pattern within the nearly square space of the plate creates a geometric tension; however, there are some loose threads on the web which disrupt the precision of this pattern, and serve as a reminder of its source in nature. </p>\n<p>The tonal mezzotint background is smooth and even, yet almost pixellated in its regular precision, echoing the reproduced, photographic source material. This work relates to the series of web charcoal on paper drawings which Celmins begun in the late 1990s with <i>Web #1 </i>1999 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-web-1-ar00164\" title=\"View the details of this artwork\"><span>AR00164</span></a>). Stressing the interrelation between her drawing and printmaking practices, in particular the mezzotint <i>Web </i>prints, Celmins has commented: </p>\n<p class=\"cttext\">\n</p><blockquote>I believe working on the mezzotint, which I found to be very bizarre at first – working from black to white – influenced all those charcoal drawings. I started the drawings because I was beginning to think my painting was getting too concentrated, too tight, and I wanted to make work that was a little more open, maybe get more gesture in there with my hand.</blockquote>\n<blockquote>(Quoted in Rippner 2002, p.28.)</blockquote>\n<p>Crediting the print technique with a productive effect on her use of charcoal, the artist underlines their shared status as negative processes – in the drawing, there is a gradual uncovering of the white paper surface as the charcoal is erased, and in the working up of a mezzotint the plate undergoes a tonal progression from dark to light. Indeed, these reversals also refer back to the works’ source material – mimicking photography – in which the image is captured on film in reverse, as a negative trace. Celmins has said of the web that: ‘It’s an image that’s got a lot of associations with it, which I put in this very cold, scientific kind of dressing that I like to put my work in … you know, just the facts. I was seeing whether I could put an image that’s so charged emotionally in this kind of context.’ (Quoted in Sollins 2003, p.171.) This renunciation of overt interpretations and effacement of emotional or theatrical presence is fundamental to the artist’s approach to her photographic subjects, which also include night skies, oceans and vast expanses of desert. </p>\n<p>In conversation with fellow artist Robert Gober in 2002, Celmins further explained her personal relationship to the spider web, both as an image and as a material presence: </p>\n<p class=\"cttext\">\n</p><blockquote>[R]ecently I’ve picked up this spider web image, which is an image that’s very, very fragile, and implies something maybe more broken, more old, more tenuous … I found them in science images and I was drawn to them … I’ve been letting the cobwebs grow and am very delighted that, somehow, from the pictures in books they’ve come out in the real world.</blockquote>\n<blockquote>(Quoted in Gober 2004, p.25.)</blockquote>\n<p>\n<b>Further reading </b>\n<br/>Samantha Rippner, <i>The Prints of Vija Celmins</i>, exhibition catalogue, Metropolitan Museum of Art, New York 2002, reproduced p.40. <br/>Susan Sollins, ‘Vija Celmins’, in <i>Art 21: Art in the Twenty-First Century 2</i>, New York 2003, pp.162–73, reproduced p.170. <br/>‘Robert Gober in Conversation with Vija Celmins’, in Lane Relyea, Robert Gober and Briony Fer, <i>Vija Celmins</i>, London and New York 2004, pp.8¿–38.</p>\n<p>Stephanie Straine <br/>June 2010</p>\n</div>\n",
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] | <p><span>Untitled (Web 3) </span>is a one-colour aquatint print, with burnishing, scraping and drypoint, of a spider’s web on Hahnemühle Copperplate paper. It was printed by Jennifer Turner and Carmen Schilaci at Gemini G.E.L. (Graphic Editions Limited) in Los Angeles, where it was published in 2002 in an edition of sixty-five. The copy held by ARTIST ROOMS is edition number 34/65, inscribed at the bottom left corner of the print and signed and dated by the artist at the bottom right in pencil. The subject matter of this print – as is the case with the majority of Vija Celmins’s drawings, prints and paintings – is based on a photograph of a spider’s web rather than the direct observation of nature. It is one of four numbered <span>Untitled (Web) </span>prints by Celmins in ARTIST ROOMS that utilise various printmaking techniques, presenting a series of four different web formations (Tate AR00476–AR00479). There is a gradual shift from <span>Untitled (Web 1) </span>to <span>Untitled (Web 4)</span> in the character of these printed webs: from a high contrast, carefully delineated construction to a blurry, greyscale image in which the gossamer threads seem to recede into the darkness, hardly differentiated at all. The curator Susan Lambert has described the basic premise of aquatint, which is an intaglio technique whereby the print surface is sunk beneath the areas that are to remain blank:</p> | false | 1 | 2731 | paper print aquatint drypoint | [
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] | Untitled (Web 3) | 2,002 | ARTIST ROOMS Tate and National Galleries of Scotland | 2002 | CLEARED | 4 | image: 380 × 482 mm
frame: 548 × 652 × 37 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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It is one of four numbered <i>Untitled (Web) </i>prints by Celmins in ARTIST ROOMS that utilise various printmaking techniques, presenting a series of four different web formations (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-untitled-web-1-ar00476\" title=\"View the details of this artwork\"><span>AR00476</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-untitled-web-4-ar00479\" title=\"View the details of this artwork\"><span>AR00479</span></a>). There is a gradual shift from <i>Untitled (Web 1) </i>to <i>Untitled (Web 4)</i> in the character of these printed webs: from a high contrast, carefully delineated construction to a blurry, greyscale image in which the gossamer threads seem to recede into the darkness, hardly differentiated at all. The curator Susan Lambert has described the basic premise of aquatint, which is an intaglio technique whereby the print surface is sunk beneath the areas that are to remain blank:</p>\n<p class=\"cttext\">\n</p><blockquote>Aquatint is a method of etching in tone. The key to the technique lies in the application of a porous ground, consisting of particles of finely powdered asphaltum or resin. The acid contacts the plate where it is unprotected between the particles, thereby etching pits in the metal which gives a grainy texture when printed. The tone of any part of the printed image is dependent on the depth to which the pits are etched, so the design is built up in stages by stopping out areas once they have been adequately bitten.</blockquote>\n<blockquote>(Lambert 2001, pp.60–1.)</blockquote>\n<p>This granular, etched surface quality is immediately visible in Untitled (Web 3). This is a very fine greyscale image with no opaque black ink areas. Lambert also notes that as ‘with line etching, continuous gradations of tone cannot be achieved with pure aquatint. After the plate has been etched and the ground and varnish removed, however, the flat tonal areas can be modified by the use of a burnisher in the same way as in mezzotint’ (ibid., p.61). At close range, the linear web structure, hovering centrally against an empty dark background, reveals the stroking marks from the burnisher and scraper tools alongside the drypoint needle’s etching, accumulating repetitive incisions across the plate surface and further modulating the aquatint ground with patterned linear traces. The lines of the web display not the crisp white of the paper but rather are slightly hazy, coated in a light grey tone so that the web appears almost to sink backwards into the darkness. Several individual threads extend to the plate’s four edges, some disappearing as if to suggest a potential continuation of the structure. It is not made apparent what the web is attached to, the viewer is shown only its suspension against the milky darkness. The web is simultaneously irregular and regular – the repeating columns of lines that lead to its empty centre are interrupted by wayward patterns and broken chains. The threads become more spaced out as the web enlarges, and towards the edges there are huge gaps between individual threads. Untitled (Web 3) appears almost precisely like one of Celmins’s series of charcoal drawings, such as <i>Web #1 </i>1999 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-web-1-ar00164\" title=\"View the details of this artwork\"><span>AR00164</span></a>), complicating the mechanical reproduction of printmaking with its variety of hand-drawn marks. The curator Samantha Rippner has written of the arrival of the web motif into Celmins’s restricted range of imagery: </p>\n<p class=\"cttext\">\n</p><blockquote>Celmins’s webs arrive absent their makers: no obvious signs of life or its intrinsic expressiveness are visible. Yet we are left, ironically, to contemplate the product of a painstaking effort – by both the spider and the artist. This is because Celmins does not imbue the spider with iconographical significance, as other artists have done. She takes a more pragmatic approach, identifying with it as a fellow builder of structures that, although possessing an inherent constancy, are each subtly different. </blockquote>\n<blockquote>(Rippner 2002, p.9.)</blockquote>\n<p>In conversation with fellow artist Robert Gober in 2002, Celmins further explained her personal relationship to the spider web, both as an image and as a material presence: </p>\n<p class=\"cttext\">\n</p><blockquote>[R]ecently I’ve picked up this spider web image, which is an image that’s very, very fragile, and implies something maybe more broken, more old, more tenuous … I found them in science images and I was drawn to them … I’ve been letting the cobwebs grow and am very delighted that, somehow, from the pictures in books they’ve come out in the real world. </blockquote>\n<blockquote>(Quoted in Gober 2004, p.25.)</blockquote>\n<p>\n<b>Further reading </b>\n<br/>Susan Lambert, <i>Prints: Art and Techniques</i>, London 2001.<br/>Samantha Rippner, <i>The Prints of Vija Celmins</i>, exhibition catalogue, Metropolitan Museum of Art, New York 2002, reproduced p.41. <br/>‘Robert Gober in Conversation with Vija Celmins’, in Lane Relyea, Robert Gober and Briony Fer, <i>Vija Celmins</i>, London and New York 2004, pp.8¿–38.</p>\n<p>Stephanie Straine <br/>June 2010</p>\n</div>\n",
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] | Untitled (Web 4) | 2,002 | ARTIST ROOMS Tate and National Galleries of Scotland | 2002 | CLEARED | 4 | image: 389 × 482 mm
frame: 557 × 648 × 37 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<div class=\"text\">\n<p>\n<i>Untitled (Web 4) </i>is a one-colour photogravure print, with burnishing and drypoint, of a spider’s web on Hahnemühle Copperplate paper. It was printed and published by Gemini G.E.L. (Graphic Editions Limited), Los Angeles, in an edition of sixty-five plus ten artist’s proofs. The copy held by ARTIST ROOMS is edition number 34/65, inscribed at the bottom left corner and signed and dated by the artist at the bottom right in pencil. The subject matter of this print – as is the case with the majority of Vija Celmins’s drawings, prints and paintings – is based on a photograph of a spider’s web rather than the direct observation of nature. It is one of four numbered <i>Untitled (Web) </i>prints by Celmins in ARTIST ROOMS that utilise various printmaking techniques, presenting a series of four different web formations (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-untitled-web-1-ar00476\" title=\"View the details of this artwork\"><span>AR00476</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-untitled-web-4-ar00479\" title=\"View the details of this artwork\"><span>AR00479</span></a>). There is a gradual shift from <i>Untitled (Web 1) </i>to <i>Untitled (Web 4)</i> in the character of these printed webs: from a high contrast, carefully delineated construction to a blurry, greyscale image in which the gossamer threads seem to recede into the darkness, hardly differentiated at all. The curator Susan Lambert has described the basic premise of photogravure, writing that it is: </p>\n<p class=\"cttext\">\n</p><blockquote>a process by which a line or tonal image can be transferred photographically to a metal plate in such a way that it can be etched in one operation without stopping out by hand … it is dependent on the characteristics of light-sensitised gelatine. The image is printed on to the gelatine, and then the gelatine is attached to the plate.</blockquote>\n<blockquote>(Lambert 2001, pp.67–8.)</blockquote>\n<p>In this print the photogravure transfer of Celmins’s drawing of the spider web image is worked over by three further printmaking techniques. At close range, the tonally variable background reveals the stroking marks from the burnisher and scraper tools alongside the drypoint needle’s etching, accumulating repetitive incisions across the plate surface and further modulating the ground with patterned linear traces. The lines of the web display not the crisp white of the paper but rather are slightly hazy, coated in a light grey tone so that the web appears almost to sink backwards into the darkness. The print occupies most of the landscape-orientated paper, with the plate centrally aligned. There is a deep plate mark along the edge of the image. As with Untitled (Web 3), this is a greyscale image, with the blackest areas of the print along the right vertical edge of the plate. This web stretches from the top to the bottom edges of the plate, its threads touching the left and right sides in only one place.</p>\n<p>The marks made by the drypoint needle are methodical hatchings and cross hatchings across the entire surface. These echo the linear composition of the web itself. The threads of the web are so tightly packed towards its centre that their blurry outlines appear to merge together in places. The very centre is especially diffuse, the printing technique mimicking the gossamer fineness of these miniscule organic structures, enlarged in this work to presumably larger than life size. Untitled (Web 4) appears almost precisely like one of Celmins’s series of charcoal drawings, such as <i>Web #1 </i>1999 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-web-1-ar00164\" title=\"View the details of this artwork\"><span>AR00164</span></a>), complicating the mechanical reproduction of printmaking with its variety of hand-drawn marks. The curator Samantha Rippner has written of the arrival of the web motif into Celmins’s restricted range of imagery: </p>\n<p class=\"cttext\">\n</p><blockquote>Celmins’s webs arrive absent their makers: no obvious signs of life or its intrinsic expressiveness are visible. Yet we are left, ironically, to contemplate the product of a painstaking effort – by both the spider and the artist. This is because Celmins does not imbue the spider with iconographical significance, as other artists have done. She takes a more pragmatic approach, identifying with it as a fellow builder of structures that, although possessing an inherent constancy, are each subtly different. </blockquote>\n<blockquote>(Rippner 2002, p.9.)</blockquote>\n<p>In conversation with fellow artist Robert Gober in 2002, Celmins further explained her personal relationship to the spider web, both as an image and as a material presence: </p>\n<p class=\"cttext\">\n</p><blockquote>[R]ecently I’ve picked up this spider web image, which is an image that’s very, very fragile, and implies something maybe more broken, more old, more tenuous … I found them in science images and I was drawn to them … I’ve been letting the cobwebs grow and am very delighted that, somehow, from the pictures in books they’ve come out in the real world. </blockquote>\n<blockquote>(Quoted in Gober 2004, p.25.)</blockquote>\n<p>\n<b>Further reading </b>\n<br/>Susan Lambert, <i>Prints: Art and Techniques</i>, London 2001.<br/>Samantha Rippner, <i>The Prints of Vija Celmins</i>, exhibition catalogue, Metropolitan Museum of Art, New York 2002, reproduced p.45. <br/>‘Robert Gober in Conversation with Vija Celmins’, in Lane Relyea, Robert Gober and Briony Fer, <i>Vija Celmins</i>, London and New York 2004, pp.8¿–38.</p>\n<p>Stephanie Straine <br/>June 2010</p>\n</div>\n",
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Woodcut on paper mounted 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 | AR00480 | {
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] | <p><span>Night Sky Woodcut </span>is a print in an edition of thirty plus twenty artist’s proofs of a star-filled night sky, and was printed in collaboration with master printmaker Leslie Miller at The Grenfell Press, New York, where the edition was published in 1997. The copy held by ARTIST ROOMS is artist’s proof number 9/20, noted at the bottom left corner of the print and signed by the artist and dated 1997 at the bottom right. Artist’s proofs are identical in appearance to the numbered edition but are usually printed beforehand with the artist and publisher retaining most, if not all, of the proofs. The star-filled composition of this print – as is the case with the majority of Vija Celmins’s drawings, prints and paintings – is based on a found astronomical photograph rather than direct observation of the night sky. The curator Susan Lambert has explained the basic tenets of the woodcut relief printing process:</p> | false | 1 | 2731 | paper print woodcut mounted | [
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] | Night Sky Woodcut | 1,997 | ARTIST ROOMS Tate and National Galleries of Scotland | 1997 | CLEARED | 4 | image: 220 × 245 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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"content": "<div class=\"text\">\n<p>\n<i>Night Sky Woodcut </i>is a print in an edition of thirty plus twenty artist’s proofs of a star-filled night sky, and was printed in collaboration with master printmaker Leslie Miller at The Grenfell Press, New York, where the edition was published in 1997. The copy held by ARTIST ROOMS is artist’s proof number 9/20, noted at the bottom left corner of the print and signed by the artist and dated 1997 at the bottom right. Artist’s proofs are identical in appearance to the numbered edition but are usually printed beforehand with the artist and publisher retaining most, if not all, of the proofs. The star-filled composition of this print – as is the case with the majority of Vija Celmins’s drawings, prints and paintings – is based on a found astronomical photograph rather than direct observation of the night sky. The curator Susan Lambert has explained the basic tenets of the woodcut relief printing process: </p>\n<p class=\"cttext\">\n</p><blockquote>In woodcutting the drawing is made on a smoothed block of relatively soft wood such as pear, sycamore, cherry or beech. It is cut like a plank, lengthwise along the grain. The lines of the drawing are left untouched, while the wood on either side of them is cleared away with a knife ... It is also possible for the actual image to be cut into the plank. When this is the case, the lines remain un-inked when printed. </blockquote>\n<blockquote>(Lambert 2001, p.20.)</blockquote>\n<p>In Night Sky Woodcut Celmins cut the drawing of the blanket of stars into the wood surface so that her incisions translated in reverse to become the un-inked white areas of the print. This is a highly graphic and stylised technique, even more so than her work in the related <i>wood-engraving process</i> <i>(see </i>Ocean Surface Wood Engraving 2000<i> 2000, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-ocean-surface-wood-engraving-2000-ar00473\" title=\"View the details of this artwork\"><span>AR00473</span></a>)</i>. Night Sky Woodcut is one of two woodcuts by Celmins in ARTIST ROOMS, the other being Ocean Surface Woodcut 1992 1992 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-ocean-surface-woodcut-1992-ar00484\" title=\"View the details of this artwork\"><span>AR00484</span></a>). This woodcut was printed on a small piece of landscape-oriented Japanese Kozo-Gampi paper, which after printing was mounted on a much larger portrait piece of Fabriano Tiepolo paper. The print area goes almost to the edge of the Japanese paper, which is a rich cream colour that contrasts with the off-white of the Fabriano backing paper. Unlike intaglio print techniques that use metal plates as the printing surface (resulting in a precise linear plate-mark around the impressed image), the edge of a woodcut print is rough and irregular – a characteristic that is emphasised here by the print’s double mount. </p>\n<p>Night Sky Woodcut is a far freer translation from photographic source to printed image than the majority of Celmins’s prints, as the woodcutting process leads to a more patterned and less illusionistic surface finish. The stars are represented by very small marks, mostly oval-shaped, which are densely packed in an irregular fashion. At close range these shapes appear highly abstract, and their connection to the source material of a night sky photograph is almost completely lost. The background – the unmarked woodblock – has printed as pure black ink. There are some small, pale lines visible in the bottom half of the composition which add texture to the graphic, monochromatic surface. These are impressions from the wood grain. Commenting on the woodcut process itself, the artist has said: ‘I found that I liked the knife cutting into the wood. There was something very clear and clean about it, no fussing around.’ (Quoted in Rippner 2002, p.43.) This statement foregrounds the importance of materiality and directness to the artist’s printmaking, reminding the viewer that the physical construction of the work figures equally to the structure of its nominal subject matter.</p>\n<p>Discussing this particular work with the curator Samantha Rippner, the artist was asked about the use of the Japanese paper. She replied:</p>\n<p class=\"cttext\">\n</p><blockquote>The print was simple, just a cherry woodblock that had a very subtle surface on which I made various points of light with nails and needles … And the glow of the Kozo-Gampi gave the image a bit of depth that made it just barely hang in there, so the print is very subtle but still has a little weight because of the paper.</blockquote>\n<blockquote>(Quoted in ibid., pp.46–7.) </blockquote>\n<p>Night Sky Woodcut is one of seven prints of varying techniques in ARTIST ROOMS that are exclusively devoted to rearticulating a night sky photograph. They relate to an important series of charcoal on paper works with which Celmins returned to her drawing practice in the mid-1990s, including <i>Night Sky #19 </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-night-sky-19-ar00163\" title=\"View the details of this artwork\"><span>AR00163</span></a>). Commenting on this series of drawings in 2001, the artist noted: </p>\n<p class=\"cttext\">\n</p><blockquote>One of the things about the night sky images was the image became a little more abstract and a little less specific. By making a drawing in a very careful and sensuous way, I think <i>that’s</i> where the specificness goes. It’s really a drawing first, and second there’s an image kind of emerging from it.</blockquote>\n<blockquote>(Quoted in Searle and Seymour 2001, p.54.) </blockquote>\n<p>This statement also holds true of the related prints, in particular <i>Night Sky Woodcut</i>, which achieves what is certainly the most abstract version of Celmins’s night sky motif. </p>\n<p>\n<b>Further reading </b>\n<br/>Susan Lambert, <i>Prints: Art and Techniques</i>, London 2001.<br/>Adrian Searle and Anne Seymour, <i>Vija Celmins – Drawings of the Night Sky</i>, exhibition catalogue, Anthony d’Offay Gallery, London 2001. <br/>Samantha Rippner, <i>The Prints of Vija Celmins</i>, exhibition catalogue, Metropolitan Museum of Art, New York 2002, reproduced p.37. </p>\n<p>Stephanie Straine <br/>May 2010</p>\n</div>\n",
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"content": "<p>Celmins's intense monochromatic images of the night sky, based on photographs, focus on small and individual marks in the context of vastness. The images seem fragile because they record a specific human glimpse through a telescope or camera which is ephemeral and frozen in time. Celmins's serial exploration of her subjects, including the night sky, allows the artist to exploit the distinct characteristics of the variety of media she uses. Celmins used nails and needles to make points of light throughout this woodcut print. The woodcut was printed on Japanese paper to give depth to the work.</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 | AR00481 | {
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] | <p><span>Jupiter Moon – Constellation </span>is a dual-image print combining mezzotint and etching that depicts a photograph of one of Jupiter’s moons together with a constellation image in reverse. It was printed and published by Gemini G.E.L. (Graphic Editions Limited) in Los Angeles, in collaboration with master printmaker Doris Simmelink, on a large portrait-oriented sheet of Fabriano Rosapina paper in an edition of forty-eight plus twelve artist’s proofs. The copy held by ARTIST ROOMS is artist’s proof number 11/12, noted at the bottom left corner of the print and signed by the artist at the bottom right, in pencil. Artist’s proofs are identical in appearance to the numbered edition but are usually printed beforehand with the artist and publisher retaining most, if not all, of these proofs. The production of this work involved three separate print impressions, all using black ink on the two copper etching plates. The sequence was as follows: a soft-ground lift, a mezzotint, and then finally a hard ground etching of the inverse constellation to complete the print (see Gemini G.E.L. online catalogue raisonné, http://www.nga.gov/gemini/home.htm, accessed 15 June 2010).</p> | false | 1 | 2731 | paper print mezzotint etching | [
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] | Jupiter Moon - Constellation | 1,983 | ARTIST ROOMS Tate and National Galleries of Scotland | 1983 | CLEARED | 4 | image (upper): 146 × 193 mm
image (lower): 125 × 185 mm
frame: 637 × 510 × 37 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
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"content": "<div class=\"text\">\n<p>\n<i>Jupiter Moon – Constellation </i>is a dual-image print combining mezzotint and etching that depicts a photograph of one of Jupiter’s moons together with a constellation image in reverse. It was printed and published by Gemini G.E.L. (Graphic Editions Limited) in Los Angeles, in collaboration with master printmaker Doris Simmelink, on a large portrait-oriented sheet of Fabriano Rosapina paper in an edition of forty-eight plus twelve artist’s proofs. The copy held by ARTIST ROOMS is artist’s proof number 11/12, noted at the bottom left corner of the print and signed by the artist at the bottom right, in pencil. Artist’s proofs are identical in appearance to the numbered edition but are usually printed beforehand with the artist and publisher retaining most, if not all, of these proofs. The production of this work involved three separate print impressions, all using black ink on the two copper etching plates. The sequence was as follows: a soft-ground lift, a mezzotint, and then finally a hard ground etching of the inverse constellation to complete the print (see Gemini G.E.L. online catalogue raisonné, <a href=\"http://www.nga.gov/gemini/home.htm\">http://www.nga.gov/gemini/home.htm</a>, accessed 15 June 2010). </p>\n<p>There is a large amount of white paper around the two landscape-orientated rectangular prints which comprise <i>Jupiter Moon – Constellation</i>, which are centred on the large sheet of paper and stacked one above the other to create a vertically aligned dual composition. The bottom plate, of the inverse constellation, lines up with the top plate of the Jupiter moon image at the left hand margin, falling slightly short of its width at the right hand margin, creating an uneven relationship between the images. The bottom constellation image appears to be the result of a pure etching process, whereas the Jupiter moon is clearly the result of a mezzotint process. Both images have plate impressions, and the paper undulates slightly as a result of the printmaking processes. There is a double line border around the reverse constellation image. </p>\n<p>The Jupiter moon mezzotint is covered in repeating black dots in a grid arrangement, like newspaper photo-registration marks. The mezzotint’s tonal variations, in combination with the soft-ground lift, produces a spectrum of velvety grey tones on the surface, with the print achieving an opaque black at the top right corner of the image. This contrasts with the pure white background of the etched constellation image, which has no tonal variation. As an image it is very abstract, suggestive of a decorative fabric pattern. Its visual source cannot be easily discerned; it is only the title that reveals it to be a rectangular section of a densely packed constellation. The relationship between the images is unclear, although both have astronomical subject matters. The image juxtaposition is twofold: first at the level of process (the tonal versus linear techniques), and second at the level of photographic subject matter (the close-up of a single lunar body in contrast to a vast celestial field registered via a wide-angle telescopic lens). The artist’s work of the 1980s shows a more sustained commitment to printmaking, which became an integral part of her practice. Across these variations in media the night sky remained a constant preoccupation: prints like <i>Mount Holyoke </i>1987 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-mount-holyoke-ar00471\" title=\"View the details of this artwork\"><span>AR00471</span></a>) and the four-part series <i>Concentric Bearings </i>1984–5 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-a-ar00469\" title=\"View the details of this artwork\"><span>AR00469</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-d-ar00470\" title=\"View the details of this artwork\"><span>AR00470</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-b-ar00482\" title=\"View the details of this artwork\"><span>AR00482</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-c-ar00483\" title=\"View the details of this artwork\"><span>AR00483</span></a>) all made use of a constellation, galaxy or night sky photographic source. </p>\n<p>Etching is an intaglio print technique, meaning that it is an incised design where the print surface is sunk beneath the areas that are to remain blank. The art historian Susan Lambert has explained the mezzotint technique, which Celmins has utilised in numerous other prints: </p>\n<p class=\"cttext\">\n</p><blockquote>Mezzotint is a form of tonal engraving and, because the engraver works from dark to light, it is often described as a negative process. The plate is prepared so that it will print an even, deep black. This is done by pitting its surface systematically with a serrated chisel-like tool, known as a rocker, which raises a uniform burr. The design is formed by smoothing the burr so that different areas of the plate will hold different quantities of ink and therefore print different tones of grey. </blockquote>\n<blockquote>(Lambert 2001, p.50.)</blockquote>\n<p>\n<i>Jupiter Moon – Constellation </i>exploits the mezzotint’s full spectrum of negative processes, and its resulting greyscale variations across the Jupiter Moon surface delicately translate the black and white photographic source. In conversation with the curator Samantha Rippner in 2001, and discussing the series of double-plate prints to which this work belongs (along with <i>Constellation – Uccello</i> 1983, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-constellation-uccello-ar00606\" title=\"View the details of this artwork\"><span>AR00606</span></a>), the artist commented: </p>\n<p class=\"cttext\">\n</p><blockquote>One was my image – the night sky – which I had been fondling around in my work, making variations on, and the other was a found image of another kind of spatial exploration, like Uccello’s perspective drawing of the chalice, an engineer’s drawing of a ship, or the satellite image of one of Jupiter’s moons. All were three-dimensional representations on a flat page.</blockquote>\n<blockquote>(Quoted in Rippner 2002, p.22.)</blockquote>\n<p>Celmins then remarked of Jupiter Moon – Constellation in particular, ‘the Jupiter moon is such a fabulous image, which I found in one of my travels through bookstores looking at pictures. At the bottom of that print is a reversed galaxy, an image that I’m interested in again now’ (quoted in ibid., p.23). This final comment refers to works such as <i>Night Sky 1 Reversed </i>2002 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-night-sky-1-reversed-ar00474\" title=\"View the details of this artwork\"><span>AR00474</span></a>) and <i>Night Sky 2 Reversed </i>2002 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-night-sky-2-reversed-ar00475\" title=\"View the details of this artwork\"><span>AR00475</span></a>), which were printed shortly after the interview with Rippner took place. </p>\n<p>\n<b>Further reading </b>\n<br/>Susan Lambert, <i>Prints: Art and Techniques</i>, London 2001.<br/>Samantha Rippner, <i>The Prints of Vija Celmins</i>, exhibition catalogue, Metropolitan Museum of Art, New York 2002, reproduced p.23. <br/>Gemini G.E.L. online catalogue raisonné, National Gallery of Art, Washington, D.C., <a href=\"http://www.nga.gov/gemini/home.htm\">http://www.nga.gov/gemini/home.htm</a>, accessed 15 June 2010. </p>\n<p>Stephanie Straine <br/>June 2010</p>\n</div>\n",
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] | Concentric Bearings B | 1,984 | ARTIST ROOMS Tate and National Galleries of Scotland | 1984 | CLEARED | 4 | image (left): 125 × 110 mm
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It is the second of four prints, lettered A–D, that make up the <i>Concentric Bearings </i>series (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-a-ar00469\" title=\"View the details of this artwork\"><span>AR00469</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-b-ar00482\" title=\"View the details of this artwork\"><span>AR00482</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-c-ar00483\" title=\"View the details of this artwork\"><span>AR00483</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-d-ar00470\" title=\"View the details of this artwork\"><span>AR00470</span></a>). It was printed and published by Gemini G.E.L. (Graphic Editions Limited) in Los Angeles in an edition of thirty-five plus six artist’s proofs, in collaboration with master printmakers Kenneth Farley and Doris Simmelink. The copy held by ARTIST ROOMS is artist’s proof number 1/6, inscribed at the bottom left corner of the print, and signed by the artist at the bottom right in pencil. </p>\n<p>The night sky image on the left is the slightly larger of the two portrait-oriented prints, and is based on a found photograph rather than direct observation of nature, as is the case with the majority of Vija Celmins’s drawings, prints and paintings. It has been printed using aquatint. The curator Susan Lambert has explained the basic premise of aquatint as ‘a method of etching in tone’ (Lambert 2001, p.60). Etching is an intaglio technique: an incised design where the print surface is sunk beneath the areas that are to remain blank. This print has a lively, textured surface. Looking closely, evidence of the drypoint’s linear engraving is visible. The drypoint needle, often used to retouch and refine an aquatint, here enhances the detailing of the variously shaped stars, whose pinpricks of light are in fact the un-inked white surface of the paper, which contrasts dramatically with the black ink of the space that surrounds them. Two shooting stars create a pair of diagonal lines across the sky that echoes the diagonal scratches on the falling plane print, which is a mezzotint. Susan Lambert describes the mezzotint technique, which Celmins has utilised in numerous prints, as ‘a form of tonal engraving and, because the engraver works from dark to light, it is often described as a negative process’ (ibid., p.50). The falling plane is an ominous symbol of warfare, which resonates with the artist’s childhood emigration from Latvia to the United States as a consequence of the Second World War. Falling planes first appeared in Celmins’s work in the mid-1960s at the height of the Vietnam War in a series of oil paintings that depicted Second World War-era German and American aircraft, such as <i>Suspended Plane </i>1966 (San Francisco Museum of Modern Art). </p>\n<p>Describing the <i>Concentric Bearings </i>series, curators Richard Field and Ruth Fine have stated: ‘In developing these prints, as she has developed all of the etchings, Celmins worked through many proof stages to achieve the precise tonalities she desired. In the course of proofing she was able to test the various combinations of images.’ (Field and Fine 1987, p.59.) Concentric Bearings B<i> </i>is the second print in this series of four works that collectively presents four separate plates (two different night sky prints, the grainy image of a falling plane, and a photogravure of the artist Marcel Duchamp’s (1887–1968) <i>Rotary Glass Plates (Precision Optics) </i>1920) in different configurations so that no one print contains all images from the series. Prints <i>A </i>and <i>B </i>contain two images each, while <i>C </i>and <i>D </i>have three images. A sequence of repetitions and juxtapositions occur over the series as a whole. Discussing the genesis of the <i>Concentric Bearings </i>series, Celmins has said: </p>\n<p class=\"cttext\">\n</p><blockquote>A sort of theme was developing around describing space … about spirals, concentric circles, the plane spiralling down, the rotary device spinning, the stars turning: a similarity of events. And of course I always liked Duchamp’s piece and also the reproduction through which I found it. I though it was kind of humorous that Duchamp wasn’t going to call his object art, so I put it in something that maybe you would call <i>my </i>art. It’s those little nuances that hold the work together.</blockquote>\n<blockquote>(Quoted in Rippner 2002, pp.34–5.)</blockquote>\n<p>In Concentric Bearings B the two images are small relative to their paper support, which is a large, portrait-oriented sheet. There is more blank paper beneath the plates than above, and the prints appear to float against this large expanse of bare white paper, positioned close together and aligned along their bottom edges. As part of a series of prints that investigates spatial relations, this proportionality is purposeful. The artist has commented on this aspect of her printmaking practice, explaining: </p>\n<p class=\"cttext\">\n</p><blockquote>The paper became an extension of the print. How the print sat on the paper and the peculiar proportion and placement all became the work … My feeling is that every decision about the size of the borders has a corresponding effect on how one perceives the image.</blockquote>\n<blockquote>(Quoted in ibid., p.15.) </blockquote>\n<p>\n<b>Further reading </b>\n<br/>Richard S. Field and Ruth E. Fine, <i>A Graphic Muse: Prints by Contemporary American Women</i>, exhibition catalogue, Mount Holyoke College Art Museum, South Hadley, Massachusetts 1987, reproduced p.62. <br/>Susan Lambert, <i>Prints: Art and Techniques</i>, London 2001.<br/>Samantha Rippner, <i>The Prints of Vija Celmins</i>, exhibition catalogue, Metropolitan Museum of Art, New York 2002, reproduced p.26. </p>\n<p>Stephanie Straine <br/>July 2010</p>\n</div>\n",
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"content": "<p>Celmins began experimenting with double-image prints following such double-image drawings as 'Untitled (Desert-Galaxy) 1974', also in the ARTIST ROOMS Collection. Celmins combined images from photographs she had collected which were particularly significant to her. The 'Concentric Bearings' prints form an important series which Celmins produced with the Gemini G. E. L. print workshop in Los Angeles. The series explores different images of 'turning space'. Concentric Bearings B contains an image of a falling plane placed next to Celmins's image of stars turning in the night sky. The image of the plane was particularly poignant for Celmins who spent her childhood in Latvia and Germany in the late 1930s and 1940s.</p>\n",
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] | <p><span>Concentric Bearings C </span>is a three-colour print using aquatint, drypoint and mezzotint techniques on Rives BFK paper that brings together prints from three separate plates on a single sheet of paper. The smallest, central print shows a grainy image of a falling plane derived from a photograph clipping. This is bordered by two different starry night sky images of varying size. It is the third of four prints, lettered A–D, that make up the <span>Concentric Bearings </span>series (Tate AR00469, AR00482, AR00483, AR00470). It was printed and published by Gemini G.E.L. (Graphic Editions Limited) in Los Angeles in an edition of thirty-four plus six artist’s proofs, in collaboration with master printmakers Kenneth Farley and Doris Simmelink. The copy held by ARTIST ROOMS is artist’s proof number 3/6, inscribed at the bottom left corner of the print, and signed by the artist at the bottom right in pencil.</p> | false | 1 | 2731 | paper print aquatint drypoint mezzotint | [
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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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It is the third of four prints, lettered A–D, that make up the <i>Concentric Bearings </i>series (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-a-ar00469\" title=\"View the details of this artwork\"><span>AR00469</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-b-ar00482\" title=\"View the details of this artwork\"><span>AR00482</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-c-ar00483\" title=\"View the details of this artwork\"><span>AR00483</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-concentric-bearings-d-ar00470\" title=\"View the details of this artwork\"><span>AR00470</span></a>). It was printed and published by Gemini G.E.L. (Graphic Editions Limited) in Los Angeles in an edition of thirty-four plus six artist’s proofs, in collaboration with master printmakers Kenneth Farley and Doris Simmelink. The copy held by ARTIST ROOMS is artist’s proof number 3/6, inscribed at the bottom left corner of the print, and signed by the artist at the bottom right in pencil. </p>\n<p>The night sky image on the right is the largest of the three portrait-oriented prints, which are based on found photographs rather than direct observation, as is the case with the majority of Vija Celmins’s drawings, prints and paintings. The night skies have been printed using aquatint. Both have black ink backgrounds, although the left image has more hazy greys in parts of its background, like dust clouds, whereas the right image is pure, pitch black. The curator Susan Lambert has explained the basic premise of aquatint as ‘a method of etching in tone’ (Lambert 2001, p.60). Etching is an intaglio technique: an incised design where the print surface is sunk beneath the areas that are to remain blank. These prints have lively, textured surfaces. Looking closely, evidence of the drypoint’s linear engraving is visible. The drypoint needle, often used to retouch and refine an aquatint, here enhances the detailing of the variously shaped stars, whose pinpricks of light are in fact the un-inked white surface of the paper, which contrasts dramatically with the black ink of the space that surrounds them. Two shooting stars create a pair of diagonal lines across the left-hand sky that echoes the diagonal scratches on the falling plane print, which is a mezzotint. Susan Lambert describes the mezzotint technique, which Celmins has utilised in numerous prints, as ‘a form of tonal engraving and, because the engraver works from dark to light, it is often described as a negative process’ (ibid., p.50). The falling plane is an ominous symbol of warfare, which resonates with the artist’s childhood emigration from Latvia to the United States as a consequence of the Second World War. Falling planes first appeared in Celmins’s work in the mid-1960s at the height of the Vietnam War in a series of oil paintings that depicted Second World War-era German and American aircraft, such as <i>Suspended Plane </i>1966 (San Francisco Museum of Modern Art). </p>\n<p>Describing the <i>Concentric Bearings </i>series, curators Richard Field and Ruth Fine have stated: ‘In developing these prints, as she has developed all of the etchings, Celmins worked through many proof stages to achieve the precise tonalities she desired. In the course of proofing she was able to test the various combinations of images.’ (Field and Fine 1987, p.59.) Concentric Bearings C is the third print in this series of four works that collectively presents four separate plates (two different night sky prints, the grainy image of a falling plane, and a photogravure of the artist Marcel Duchamp’s (1887–1968) <i>Rotary Glass Plates (Precision Optics) </i>1920) in different configurations so that no one print contains all images from the series. Prints <i>A </i>and <i>B </i>contain two images each, while <i>C </i>and <i>D </i>have three images. A sequence of repetitions and juxtapositions occur over the series as a whole. Discussing the genesis of the <i>Concentric Bearings </i>series, Celmins has said: </p>\n<p class=\"cttext\">\n</p><blockquote>A sort of theme was developing around describing space … about spirals, concentric circles, the plane spiralling down, the rotary device spinning, the stars turning: a similarity of events. And of course I always liked Duchamp’s piece and also the reproduction through which I found it. I though it was kind of humorous that Duchamp wasn’t going to call his object art, so I put it in something that maybe you would call <i>my </i>art. It’s those little nuances that hold the work together.</blockquote>\n<blockquote>(Quoted in Rippner 2002, pp.34–5.)</blockquote>\n<p>In Concentric Bearings C the majority of blank paper is above the prints, which are positioned close together and aligned along the bottom edges, which run very close to the lower edge of the paper itself. As part of a series of prints that investigates spatial relations, this proportionality is purposeful. The artist has commented on this aspect of her printmaking practice, explaining: </p>\n<p class=\"cttext\">\n</p><blockquote>The paper became an extension of the print. How the print sat on the paper and the peculiar proportion and placement all became the work … My feeling is that every decision about the size of the borders has a corresponding effect on how one perceives the image.</blockquote>\n<blockquote>(Quoted in ibid., p.15.) </blockquote>\n<p>\n<b>Further reading </b>\n<br/>Richard S. Field and Ruth E. Fine, <i>A Graphic Muse: Prints by Contemporary American Women</i>, exhibition catalogue, Mount Holyoke College Art Museum, South Hadley, Massachusetts 1987. <br/>Susan Lambert, <i>Prints: Art and Techniques</i>, London 2001.<br/>Samantha Rippner, <i>The Prints of Vija Celmins</i>, exhibition catalogue, Metropolitan Museum of Art, New York 2002, reproduced p.27. </p>\n<p>Stephanie Straine <br/>July 2010</p>\n</div>\n",
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"content": "<p>Celmins began experimenting with double-image prints following such double-image drawings as 'Untitled (Desert-Galaxy) 1974', also in the ARTIST ROOMS Collection. Celmins combined images from photographs she had collected which were particularly significant to her. The 'Concentric Bearings' prints form an important series which Celmins produced with the Gemini G. E. L. print workshop in Los Angeles. The series explores different images of 'turning space'. 'Concentric Bearings C' contains an image of a falling plane placed between Celmins's images of stars turning in the night sky. The image of the plane was particularly poignant for Celmins who spent her childhood in Latvia and Germany in the late 1930s and 1940s.</p>\n",
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frame: 530 × 430 × 37 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
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"content": "<div class=\"text\">\n<p>Ocean Surface Woodcut 1992 is a woodcut of ocean waves on Whatman 1953 paper, printed in collaboration with master printer Leslie Miller and published by The Grenfell Press, New York in an edition of fifty plus ten artist’s proofs. The copy held by ARTIST ROOMS is artist’s proof number 9/10, noted at the bottom left corner of the print and signed by the artist and dated 1992 at the bottom right. Artist’s proofs are identical in appearance to the numbered edition but are usually printed beforehand with the artist and publisher retaining most, if not all, of the proofs. The curator Susan Lambert has explained the basic tenets of this traditional relief printing process: </p>\n<p class=\"cttext\">\n</p><blockquote>In woodcutting the drawing is made on a smoothed block of relatively soft wood such as pear, sycamore, cherry or beech. It is cut like a plank, lengthwise along the grain. The lines of the drawing are left untouched, while the wood on either side of them is cleared away with a knife ... It is also possible for the actual image to be cut into the plank. When this is the case, the lines remain un-inked when printed. </blockquote>\n<blockquote>(Lambert 2001, p.20.)</blockquote>\n<p>In Ocean Surface Woodcut 1992, Celmins cut the drawing itself into the wood surface so that her incisions translated in reverse to become the un-inked white lines of the print. This is a highly graphic and stylised technique, even more so than the related <i>wood engraving</i> <i>(see </i>Ocean Surface Wood Engraving 2000<i>, Tate</i> <i><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-ocean-surface-wood-engraving-2000-ar00473\" title=\"View the details of this artwork\"><span>AR00473</span></a>)</i>. The image only coalesces into a churning mass of waves when viewed at a distance; up close it is highly abstract – a thicket of black triangular forms and hatched and cross-hatched fine white lines. The rhythmic ocean entirely fills the printed surface, with no horizon line or sky visible, although it does recede perspectivally on a steeply-inclined picture plane.</p>\n<p>This ocean image is based on one of a group of photographs of the Pacific Ocean, taken by the artist near her home in California in the late 1960s. The subject matter of the ocean first appeared in Celmins’s work in 1968, with a series of graphite pencil on paper drawings that experimented with variations in the density and tone of graphite across the various photographic iterations. Speaking of its reappearance across many works and various decades, Celmins noted: ‘The ocean image is one that is part of me and that I try to do every now and then with a new sensibility or process.’ (Quoted in Rippner 2002, p.30.) Within the extensive group of prints by Celmins in ARTIST ROOMS there are two other works that utilise the ocean motif, and in all likelihood the same source photographs from the 1960s, as the starting point for the printed image. These are <i>Drypoint – </i>Ocean Surface <i>1983 (Tate AR00467</i>) and Ocean Surface Wood Engraving 2000 2000. Along with Ocean Surface Woodcut 1992, these works demonstrate the persistence and longevity of the ocean image as subject matter, migrating to different printmaking techniques in the artist’s practice over three consecutive decades. Regarding this relationship between her photographic source material and the final print, the artist has said: </p>\n<p class=\"cttext\">\n</p><blockquote>The photo image is just the barest help; I still have to pay close attention not to lose my place as I refer to the actual image. The [photograph for the] first woodcut image [<i>Ocean Surface Woodcut 1992</i>] was taken at Venice Beach about 1969, and I had carried it with me to New York. In this print I wanted the shape of the ocean waves to carry all the spatial information and the woodblock to be just this flat, black block of printed wood. </blockquote>\n<blockquote>(Quoted in ibid., pp.43–4.)</blockquote>\n<p>Ocean Surface Woodcut 1992 is a far freer translation from photographic source to printed image than the majority of Celmins’s prints, as the woodcutting process leads to a more patterned and less illusionistic surface finish. The peaks and troughs of the ocean appear more like solid masses than an ever-changing body of water. The techniques used by the artist in her prints are complicated, laborious and time-consuming, and this is particularly true of the woodcut. The artist has remarked: ‘The ocean woodcut was difficult because it was so hard to find your place in it and also if you make too big a cut it’s a goner.’ (Quoted in ibid., p.25.) This articulation of risk helps to account for the sensation of tension across the surface of the print. The art historian Susan Tallman has considered the artist’s printmaking oeuvre in light of these technical challenges: </p>\n<p class=\"cttext\">\n</p><blockquote>Celmins gives us unencompassable vastness, reduced to intimacy. Her images thrive in situations where the act of drawing encounters the greatest physical resistance: [in] gouges in wood that cause her oceans to stiffen and condense … The visible labor in works like these is often astonishing – Celmins spent a year cutting the woodcut <i>Ocean </i>(1992) – but drudgery is not the point. The point is the visceral presence of what [the artist Chuck] Close calls a ‘record of decisions having been made.’</blockquote>\n<blockquote>(Tallman 1996, p.126.) </blockquote>\n<p>\n<b>Further reading </b>\n<br/>Susan Tallman, <i>The Contemporary Print from Pre-Pop to Postmodern</i>, London 1996, reproduced p.126.<br/>Susan Lambert, <i>Prints: Art and Techniques</i>, London 2001.<br/>Samantha Rippner, <i>The Prints of Vija Celmins</i>, exhibition catalogue, Metropolitan Museum of Art, New York 2002, reproduced p.38. </p>\n<p>Stephanie Straine <br/>May 2010</p>\n</div>\n",
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] | <p><span>Night Sky 3 </span>is a one-colour aquatint print with burnishing and drypoint on medium weight, white Hahnemühle Copperplate paper that depicts a tonal image of a blanket of stars against a night sky. It was printed and published by Gemini G.E.L. (Graphic Editions Limited) in Los Angeles in an edition of sixty-five plus proof copies. The print held by ARTIST ROOMS is signed and dated by the artist at the bottom right corner, and inscribed ‘SP 5/9’ at the bottom left of the print, in pencil. The notation SP stands for Special Proof, a ‘proof specifically created for presentation purposes by the artist or publisher that equals the right to print impression or standard used for the edition. In some cases this is called a dedication proof (DP)’ (Glossary, Gemini G.E.L. Online Catalogue Raisonné, http://www.nga.gov/gemini/glossary.htm, accessed 22 June 2010). The star-filled composition of this print – as is the case with the majority of Vija Celmins’s drawings, prints and paintings – is based on a found astronomical photograph rather than direct observation of the night sky. The curator Susan Lambert has described the basic premise of aquatint, which is an intaglio technique whereby the print surface is sunk beneath the areas that are to remain blank:</p> | false | 1 | 2731 | paper print aquatint drypoint | [
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"content": "<div class=\"text\">\n<p>\n<i>Night Sky 3 </i>is a one-colour aquatint print with burnishing and drypoint on medium weight, white Hahnemühle Copperplate paper that depicts a tonal image of a blanket of stars against a night sky. It was printed and published by Gemini G.E.L. (Graphic Editions Limited) in Los Angeles in an edition of sixty-five plus proof copies. The print held by ARTIST ROOMS is signed and dated by the artist at the bottom right corner, and inscribed ‘SP 5/9’ at the bottom left of the print, in pencil. The notation SP stands for Special Proof, a ‘proof specifically created for presentation purposes by the artist or publisher that equals the right to print impression or standard used for the edition. In some cases this is called a dedication proof (DP)’ (Glossary, Gemini G.E.L. Online Catalogue Raisonné, <a href=\"http://www.nga.gov/gemini/glossary.htm\">http://www.nga.gov/gemini/glossary.htm</a>, accessed 22 June 2010). The star-filled composition of this print – as is the case with the majority of Vija Celmins’s drawings, prints and paintings – is based on a found astronomical photograph rather than direct observation of the night sky. The curator Susan Lambert has described the basic premise of aquatint, which is an intaglio technique whereby the print surface is sunk beneath the areas that are to remain blank:</p>\n<p class=\"cttext\">\n</p><blockquote>Aquatint is a method of etching in tone. The key to the technique lies in the application of a porous ground, consisting of particles of finely powdered asphaltum or resin. The acid contacts the plate where it is unprotected between the particles, thereby etching pits in the metal which gives a grainy texture when printed. The tone of any part of the printed image is dependent on the depth to which the pits are etched, so the design is built up in stages by stopping out areas once they have been adequately bitten.</blockquote>\n<blockquote>(Lambert 2001, pp.60–1.)</blockquote>\n<p>This granular, etched surface quality is immediately apparent across the surface of Night Sky 3. Susan Lambert also notes that, ‘As with line etching, continuous gradations of tone cannot be achieved with pure aquatint. After the plate has been etched and the ground and varnish removed, however, the flat tonal areas can be modified by the use of a burnisher in the same way as in mezzotint’ (ibid., p.61). This print has a lively, textured surface. Looking closely, the stroking marks of the burnisher tool, and the drypoint needle’s linear etching, are visible, making repetitive incisions across the plate surface and further modulating the aquatint ground. </p>\n<p>This night sky is filled with many stars, some tiny pinpricks, others quite large, with radiating lines extending from their centres. None show the pure white surface of the paper; they are slightly dulled by the tonal pitting of the aquatint and so do not appear as brilliant points of light. In the composition, the sky is darkest in its bottom third, reaching a near-black tone. This darkness creeps up, along the two vertical edges of the plate, so that there is a central, oval-shaped area of lighter grey. </p>\n<p>In an interview with the curator Samantha Rippner in 2002, the year Night Sky 3 was produced, Celmins said of her printmaking practice that: </p>\n<p class=\"cttext\">\n</p><blockquote>I used to make graphic work that projected out into a room and grabbed you. In the last fifteen or so years, I seem to have changed to having the work invite you closer, so that the success of the work comes from being intimate with it and inspecting it closely. </blockquote>\n<blockquote>(Quoted in Rippner 2002, p.48.) </blockquote>\n<p>This statement seems particularly appropriate for <i>Night Sky 3</i>, where the detailed textural composition, a combination of tonal gradation and linear cross-hatching, requires close looking by the viewer, whose relationship to the image radically changes in the move towards the printed surface. From a distance, the work could be mistaken for a photograph, the image’s source material; however, this impression is displaced upon a more sustained interrogation of technique and material structure. Night Sky 3 is one of seven prints of varying techniques in ARTIST ROOMS that are exclusively devoted to the rendering of a night sky photograph. They relate to an important series of charcoal on paper works with which Celmins returned to her drawing practice in the mid-1990s, including <i>Night Sky #19</i> 1998<i> </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-night-sky-19-ar00163\" title=\"View the details of this artwork\"><span>AR00163</span></a>). Commenting on this series of drawings in 2001, the artist noted: </p>\n<p class=\"cttext\">\n</p><blockquote>One of the things about the night sky images was the image became a little more abstract and a little less specific. By making a drawing in a very careful and sensuous way, I think <i>that’s</i> where the specificness goes. It’s really a drawing first, and second there’s an image kind of emerging from it.</blockquote>\n<blockquote>(Quoted in Searle and Seymour 2001, p.54.) </blockquote>\n<p>\n<b>Further reading </b>\n<br/>Susan Lambert, <i>Prints: Art and Techniques</i>, London 2001.<br/>Samantha Rippner, <i>The Prints of Vija Celmins</i>, exhibition catalogue, Metropolitan Museum of Art, New York 2002, reproduced p.44. <br/>Adrian Searle and Anne Seymour, <i>Vija Celmins – Drawings of the Night Sky</i>, exhibition catalogue, Anthony d’Offay Gallery, London 2001. <br/>Glossary, Gemini G.E.L. Online Catalogue Raisonné, National Gallery of Art, Washington, D.C., <a href=\"http://www.nga.gov/gemini/glossary.htm\">http://www.nga.gov/gemini/glossary.htm</a>, accessed 22 June 2010</p>\n<p>Stephanie Straine <br/>June 2010</p>\n</div>\n",
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"content": "<p><i>Controlled Substances Key Painting (Spot 4a) </i>belongs to Hirst’s group of <i>Controlled Substances</i> <i>Paintings</i>, themselves a subset of the ongoing series of paintings, titled <i>The Pharmaceutical Paintings </i>but more commonly known as the spot paintings, that the artist initiated in 1988. Based on the simple format of the grid, the paintings feature circular ‘spots’ of coloured paint lined up at regular intervals, with the spaces between them always the same distance as their diameter, on a white background. Although the colour placement in these paintings appears random, it is the result of an aesthetic or ‘emotional’ decision. As the artist has explained, \n<br/></p>\n<blockquote>I started them as an endless series ... a scientific approach to painting in a similar way to the drug companies’ scientific approach to life. Art doesn’t purport to have all the answers; the drug companies do. Hence the title of the series, The Pharmaceutical Paintings, and the individual titles of the paintings themselves: <i>Acetaldehyde</i> (1991), <i>Albumin Human Glycated</i> (1992), <i>Androstanotone</i> (1993) ... On each painting no two colours are the same ... I can still make all the emotional decisions about colour that I need to as an artist, but in the end they are lost.</blockquote>\n<blockquote>(Quoted in Hirst, p.246.)</blockquote>\n<p>\n<br/>Hirst bought the Physicians’ Desk Reference, a commercially published compilation of manufacturers’ information on prescription drugs, updated annually, to choose the names of pharmaceuticals for his spot paintings. He later commented that ‘it was just an afterthought to name them after drugs, based on this book, but I saw it and thought: I have just got to do all of them’ (quoted in <i>Damien Hirst</i>, p.113). \n<br/>\n<br/>The <i>Controlled Substances Paintings </i>refer specifically to dangerous drugs – drugs that are ‘controlled’ so that they cannot be accessed by the non-medical public. The series began in 1993 with canvases titled <i>Opium</i>,<i> Morphine Sulfate </i>and<i> Inovacodeine </i>(reproduced Hirst, p.245) among others.<i> </i>The <i>Key Paintings</i> differ from all the other spot paintings by the inclusion of text with the coloured circles. Composed of thirty-six spots, arranged in a grid six rows by six columns, they are headed by the title words, ‘CONTROLLED SUBSTANCES’, painted in black along the upper margin of the canvas. Each circle of colour is accompanied by a letter of the alphabet, beginning with A and continuing down the rows until Z, after which a numerical sequence follows from 1 through 9, followed by 0, painted in black to its right. Hirst has created <i>Controlled Substances Key Paintings </i>in four dimensions; they all contain the same colours and textual additions. The smallest, known simply as <i>Controlled Substances Key Painting</i> 1993 (reproduced <i>Logical Conclusions: 40 Years of Rule-Based Art</i>, p.115) is identical in colour and structure to <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hirst-controlled-substance-key-painting-ar00498\" title=\"View the details of this artwork\"><span>AR00498</span></a> and exactly one quarter the size, each of its spots being 1” in diameter, as opposed to 4” in the case of <span>AR00498</span>.\n<br/>\n<br/>Although they superficially relate to them, Hirst’s spot paintings differ significantly from the colour chart paintings made by German artist Gerhard Richter (born 1932) during the 1960s and 1970s. Inspired by industrial painters’ colour charts, Richter’s paintings began as a way to generate paintings randomly, allowing first chance and later mathematical systems, to select colour and determine the order of its placement on the canvas. Richter’s goal was to challenge abstract colour theorists such as Wasssily Kandinsky (1866–1944) and Joseph Albers (1888–1976) and became purely conceptual. By contrast, the simple but rigid structure of Hirst’s spot paintings allows him to avoid the appearance of expressiveness while retaining its process. He has explained:\n<br/></p>\n<blockquote>The first idea was just questioning ... painting. I came from that kind of background of Rothko painting: paint how you feel ... When I got to Goldsmiths I had a real problem with that kind of expressionism. Because I suddenly realised that it wasn’t really working, but I still had the desire. So, I was trying to scientifically reduce that urge into something ... Thinking of a sort of unemotional machine that makes paintings. Trying to place all those expressive decisions made about colour into a grid to create a system where you could just paint how you feel because in the end it is pointless. It doesn’t matter how you feel, they always come out happy ... They just looked brilliant so I just carried on making them.</blockquote>\n<blockquote>(Quoted in <i>Damien Hirst</i>, p.98.)</blockquote>\n<p>\n<br/>In conversation with Gordon Burn in 1999 (Damien Hirst and Gordon Burn,<i> On the Way to Work</i>, London 2001), Hirst identified the idea of the spot paintings as a critical moment in his development as an artist. It occurred during his last year as a student at London’s Goldsmith’s College (BA Fine Art 1986–9), when he curated the exhibition <i>Freeze</i> in an empty warehouse in the Docklands. The work in this exhibition changed at periodic intervals, and it was during the last phase of it that Hirst abandoned his three-dimensional collage constructions, largely inspired by the German artist Kurt Schwitters (1887–1948), and painted two spot paintings directly on the wall. Hirst described a shift from looking downwards – hunting for old rubbish for his collages on the ground – to looking up at ‘advertising billboards and TV and magazine images and fashion and design and film’ (Hirst and Burn, p.119) that completely transformed his practice. He elaborated:\n<br/></p>\n<blockquote>I was always a colourist ... I just move colour around on its own. So that’s what the spot paintings came from – to create that structure to do those colours, and do <i>nothing</i>. I suddenly got what I wanted. It was just a way of pinning down the joy of colour ... Mathematically, with the spot paintings, I probably discovered the most fundamentally important thing in any kind of art. Which is the harmony of where colour can exist on its own, interacting with other colours in a perfect format, whatever you do with the colour ... they don’t go wrong ... The spot paintings are ... just like, a very exciting discovery, where you get this scientific formula that you add to this sort of mess.</blockquote>\n<blockquote>(Hirst and Burn, pp.119–20 and 126.)</blockquote>\n<p>\n<br/>The two wall paintings of 1988, titled <i>Edge </i>and<i> Row</i>\n(reproduced Hirst p.169), drew attention to themselves because of their large scale and the cropping of one edge or row of spots on each grid, giving rise to their titles. When he moved the spots to canvas in around 1990, Hirst painted his first few spot paintings himself, before passing the making of them to his studio assistants. Since this time, over eight hundred spot paintings have been produced. Each spot has a hole at the centre, caused by the foot of the compass, which is painstakingly filled and sanded down so that it disappears (Hirst and Burn, pp.90 and 120). They range from tiny canvases containing a single or even half a spot – such as <i>5-Bromo-2-Deoxycytidine </i>1996, which measures 1 x ½ inches – to triangles, rectangles and other forms of parallelogram several metres across. More recently Hirst has applied the spots to circular canvases and prints. \n<br/>\n<br/>Although they were begun as an endless series, Hirst has long been divided over this issue, saying in the mid 1990s:\n<br/></p>\n<blockquote>I want them to be an endless series, but I don’t want to make an endless series. I want to <i>imply</i> an endless series ... Imagine a world of spots. Every time I do a painting a square is cut out. They regenerate. They’re all connected ... this is more sculpture than painting. I guess it’s infinity ... I don’t like the idea of doing them forever because it implies that there is no escape. I like the idea of working it out of my system before I die. I like to imagine that art is more theatrical than real. So an involvement forever is real whereas an implied ‘forever’ is theatrical. </blockquote>\n<blockquote>(Quoted in <i>Damien Hirst: No Sense of Absolute Corruption</i>, exhibition catalogue, Gagosian Gallery, New York 1996, pp.11–13.)</blockquote>\n<p>\n<br/>In 2004 Hirst announced that he would end the series, soon (<i>Damien Hirst</i>, pp.96 and 98). He has recently confirmed this, saying: ‘I felt for ages that those “spot” and “spin” paintings [see <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hirst-wheel-meet-again-p13034\" title=\"View the details of this artwork\"><span>P13034</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hirst-wheel-within-a-wheel-p13056\" title=\"View the details of this artwork\"><span>P13056</span></a>] were getting wrapped around my neck and I needed to make something more, something deeper ... I’m bringing everything to an end ... The spots and spins are all ... this nihilistic, celebratory denial of a painter ... I realised I couldn’t deny it any more.’ (Quoted in Ossian Ward, ‘Damien Hirst’, <i>Time Out</i>, October 8–14 2009, p.12.)\n<br/>\n<br/>\n<br/><b>Further reading:</b>\n<br/>Damien Hirst, <i>I Want to Spend the Rest of My Life Everywhere, with Everyone, One to One, Always, Forever, Now</i>, London 1997, p.245.\n<br/>Eduardo Cicelyn, Mario Codognato and Mirta D’Argenzio, <i>Damien Hirst</i>, exhibition catalogue, Museo Archeologico Nazionale, Naples 2004.\n<br/><i>Logical Conclusions: 40 Years of Rule-Based Art</i>, exhibition catalogue, Pace Wildenstein, New York 2005, pp.114–5.\n<br/>\n<br/>Elizabeth Manchester\n<br/>October 2009\n<br/>\n<br/>\n<br/></p>\n",
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] | <p><i>Away from the Flock </i>is a floor-based sculpture consisting of a glass-walled tank filled with formaldehyde solution in which a dead sheep is fixed so that it appears to be alive and caught in movement. Thick white frames surround and support the tank, setting in brilliant relief the transparent turquoise of the solution in which the sheep is immersed. <i>Away from the Flock</i> is unusual for a Hirst sculpture in that it exists in three versions, all created the same year, of which ARTIST ROOM’s is the third. The principal difference between the three versions (reproduced together Hirst and Burn, pp.84–5) is that the sheep in the first version has an entirely black head and its forelegs are raised further off the floor of the tank, so that it appears to be arrested mid-jump. The sheep in versions two and three are more similar in appearance and in pose; ARTIST ROOM’s sheep has less black on its head and a pinker tinge in the rest of its wool than the others.</p> | false | 1 | 2308 | sculpture glass stainless steel perspex acrylic paint lamb formaldehyde solution | [
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] | Away from the Flock | 1,994 | ARTIST ROOMS Tate and National Galleries of Scotland | 1994 | CLEARED | 8 | Displayed: 960 × 1490 × 510 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": "<p><i>Away from the Flock </i>is a floor-based sculpture consisting of a glass-walled tank filled with formaldehyde solution in which a dead sheep is fixed so that it appears to be alive and caught in movement. Thick white frames surround and support the tank, setting in brilliant relief the transparent turquoise of the solution in which the sheep is immersed. <i>Away from the Flock</i> is unusual for a Hirst sculpture in that it exists in three versions, all created the same year, of which ARTIST ROOM’s is the third. The principal difference between the three versions (reproduced together Hirst and Burn, pp.84–5) is that the sheep in the first version has an entirely black head and its forelegs are raised further off the floor of the tank, so that it appears to be arrested mid-jump. The sheep in versions two and three are more similar in appearance and in pose; ARTIST ROOM’s sheep has less black on its head and a pinker tinge in the rest of its wool than the others.\n<br/>\n<br/><i>Away from the Flock</i> is one of a group of sculptures collectively entitled <i>Natural History</i>, that Hirst initiated in 1991 with what was to become one of his most famous works, a tiger shark floating in a giant formaldehyde-filled tank, entitled <i>The Physical Impossibility of Death in the Mind of Somebody Living</i> (reproduced <i>Damien Hirst</i>, pp.120–1). In the same year the artist filled two sets of shelves with fish in solution in individual Perspex boxes and titled the two separate works <i>Isolated Elements Swimming in the Same Direction for the Purpose of Understanding</i> followed by the bracketed words ‘left’ and ‘right’ indicating the ways the fish are heading (reproduced <i>Damien Hirst</i>, pp.114–15). He also made his first works with ungulate carcasses in liquid: <i>Stimulants (and the way they affect the mind and body)</i> (reproduced <i>Damien Hirst</i>, p.125), consisting of two cuboid tanks each containing a skinned sheep’s head and <i>Out of Sight. Out of Mind </i>(reproduced Stuart Morgan, <i>Damien Hirst: No Sense of Absolute Corruption</i>, exhibition catalogue, Gagosian Gallery, New York 1996, p.37), two individually encased skinned cows’ heads. In 1993 he created <i>Mother and Child Divided </i>(<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hirst-mother-and-child-divided-t12751\" title=\"View the details of this artwork\"><span>T12751</span></a>), using the carcasses of cow and a calf, sliced in half and mounted in four separate tanks. This was his first use of bissected animals; he created <i>Away from the Flock Divided </i>(private collection, New York) in 1995.\n<br/>\n<br/>The heavy frames of Hirst’s tanks have been a signature structure since he created his first steel-framed vitrine in 1990, <i>A Thousand Years </i>1990 (reproduced Hirst pp.28–33), in which a pair of interlinked glass cells hosts a colony of flies living in a rotting cow’s head and dying on an Insect-O-Cutor. Like <i>A Thousand Years</i>, many of Hirst’s <i>Natural History </i>works – most notably those in which animals are skinned or sliced – combine the pure clean lines of classic Minimalist sculpture, with the uncomfortably eviscerated flesh of a portrait by the painter Francis Bacon (1909–92). Bacon saw and praised <i>A Thousand Years</i> not long before he died in 1992. Hirst has frequently cited Bacon as an early influence (Hirst and Burn, pp.68–9), making a sculptural homage to Bacon’s many triptychs of his lover George Dyer in a work entitled <i>The Tranquillity of Solitude (For George Dyer)</i> 2006, in which skinned sheeps’ carcasses take the place of Dyer, sitting on a toilet or leaning over a basin, each individually immersed in a formaldehyde-filled vitrine. \n<br/>\n<br/>The heavy industrial aesthetic of the Hirst’s tanks and vitrines references the sculptural forms of such American Minimalists as Donald Judd (1928–94) and Carl André (born 1935). Placing objects in solution in tanks, Hirst follows the precedent of American Pop artist Jeff Koons (born 1955), whose <i>Total Equilibrium Tanks</i> created in 1985 fetishised professional baseballs and art objects at the same time by suspending the balls in solution in glass vitrines on black steel stands (see <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/koons-three-ball-total-equilibrium-tank-two-dr-j-silver-series-spalding-nba-tip-off-t06991\" title=\"View the details of this artwork\"><span>T06991</span></a>). Hirst has commented that the vitrines, ‘first came from a fear of everything in life being so fragile’ and wanting ‘to make a sculpture where the fragility was encased. Where it exists in its own space. The sculpture is spatially contained.’ (Quoted in Button, p.114.) The white frames that surround the formaldehyde tanks are particularly dominating visually because of their width, and now function as something of an artist’s logo. Hirst has explained that he is attracted to formaldehyde ‘because it is dangerous and it burns your skin. If you breathe it in it chokes you and it looks like water. I associate it with memory.’ (Hirst, p.298.) He has also commented that he uses it not for its preservative qualities, but ‘to communicate an idea’ (quoted in Adrian Dannatt, ‘Damien Hirst: Life’s like this, then it stops’, <i>Flash Art</i>, no.169, March–April 1993, p.61). Central to this is the futility of preservation in the face of death – that whatever we do to protect bodies against entropy, inevitably, eventually they will disintegrate and die. \n<br/>\n<br/>With the <i>Natural History</i> series, Hirst said that he, ‘just wanted to do a zoo that worked ... because I hate the zoo, and I just thought it would be great to do a zoo of dead animals, instead of having living animals pacing about in misery ... I never thought of [the works] ... as violent. I always thought of them as sad. There is a kind of tragedy with all those pieces.’ (Quoted in <i>Damien Hirst</i>, pp.122 and 134.) Although Hirst’s ‘zoo’ includes a shark, the other creatures he has used in this series are mainly domestic ungulates (sheep and cattle) as he seeks to refamiliarize people with the real source of butcher’s meat. He has commented: ‘It’s the banal animal that gives it the emotion. You wouldn’t feel the same about a tiger.’ (Quoted in Morgan, p.18.) His oeuvre is pivoted on a binary axis of death and depression versus life and joy, articulated through such material oppositions as flies versus butterflies and black versus white (see <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hirst-monument-to-the-living-and-the-dead-ar00045\" title=\"View the details of this artwork\"><span>AR00045</span></a>). The darkness or sadness in the <i>Natural History </i>series may be pitched against the happiness of the spot and spin paintings (see <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hirst-controlled-substance-key-painting-ar00498\" title=\"View the details of this artwork\"><span>AR00498</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/hirst-wheel-meet-again-p13034\" title=\"View the details of this artwork\"><span>P13034</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hirst-wheel-within-a-wheel-p13056\" title=\"View the details of this artwork\"><span>P13056</span></a>).\n<br/>\n<br/>Questioned about the title of the work, Hirst responded:\n<br/></p>\n<blockquote><i>Away from the Flock</i>, a flock of sheep. When a sheep gets lost from all the other sheep. Then I suppose that it has those religious connotations ... being an outsider, not being connected to something. That was a title that came right at the very end. I don’t know where that title came from ... <i>Away from the Flock</i> in a way is like: it is dead, so it is away from the living as well in that kind of way, the flock of living things. All those things, I never really look for a meaning, it is just if it feels right, gives a lot of the right kinds of meaning ... And Christ is often represented as a sheep in art.</blockquote>\n<blockquote>(Quoted in <i>Damien Hirst</i>, pp.136–7.)</blockquote>\n<p>\n<br/>Hirst’s sculpture is entirely contemporary in its form and presentation, but the theme suggested by its title is far older, recalling a well-known pre-Raphaelite painting by the British artist, William Holman Hunt (1827–1910). Hunt’s painting, titled variously <i>Our English Coasts </i>1852 (<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hunt-our-english-coasts-1852-strayed-sheep-n05665\" title=\"View the details of this artwork\"><span>N05665</span></a>), <i>The Lost Sheep </i>and eventually <i>Strayed Sheep </i>(final title in 1855), shows a flock of sheep nibbling grass at the edge of a cliff near Hastings in Kent. The beauty of the rural scene, illuminated by a particularly striking light, renders the religious symbolism implied in the notion of a straying flock applied to this painting ambiguous, as rather than stumbling in darkness (away from God) the sheep appear to be basking happily in the evening sun. Hirst’s reference to the religious subtext is similarly non-committal. As a child he attended a Catholic school and references to religious iconography are common in his work. <i>Mother and Child Divided</i>\nsubverts the familiar icon of mother Mary and baby Jesus with a violence Hirst found in religious imagery itself. He has recounted: ‘I have a lot of strong memories of religious imagery. We had a big illustrated bible and when I was young I would go straight to the crucifixion or severed head pages.’ (Quoted in Dannatt, p.62.) Since the early 1990s, Hirst has combined Christian iconography with the vocabulary of medical science which, for him, is another form of religion. He has equated the sheep’s isolation in <i>Away from the Flock </i>with the way that scientists have to cut things up and separate out elements in order to study them, saying that the work is, ‘about taking something out of the world and killing it to look at it ... It’s just that ... failure of trying so hard to do something that you destroy the thing that you’re trying to preserve.’ (Hirst and Burn, p.219.)<i> </i>\n<br/>\n<br/><i>Away from the Flock </i>has also been interpreted as a self-portrait (Hirst and Burn, p.219), standing as a celebration of artistic individuality that may be interpreted in several contradictory ways. Hirst has corroborated this, saying: ‘everything is a self-portrait, really. The shark, the diamond skull – they’re all self-portraits.’ (Quoted in Ossian Ward, ‘Damien Hirst’, <i>Time Out</i>, October 8–14 2009, p.14.) \n<br/>\n<br/>\n<br/><b>Further reading:</b>\n<br/>Damien Hirst, <i>I Want to Spend the Rest of My Life Everywhere, with Everyone, One to One, Always, Forever, Now</i>, London 1997, reproduced p.293.\n<br/>Damien Hirst and Gordon Burn, <i>On the Way to Work</i>, London 2001, reproduced p.85.\n<br/>Eduardo Cicelyn, Mario Codognato and Mirta D’Argenzio, <i>Damien Hirst</i>, exhibition catalogue, Museo Archeologico Nazionale, Naples 2004, pp.32 and 136, reproduced (first version) pp.134–5.\n<br/>\n<br/>Elizabeth Manchester\n<br/>October 2009\n<br/>\n<br/></p>\n",
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object (central vitrine, displayed not including objects): 2745 × 1835 × 472 mm
object (right vitrine, displayed, not including objects): 2135 × 1530 × 472 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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These include: enlarged eyeballs; foetuses in various stages of development both in and out of wombs; cross-sections of male and female reproductive organs; cross-sections of the skin with giant hair follicles; skulls – both adult and infant; enlarged teeth; and torsos with their skin removed to show the body’s internal organs and half the head sliced open to reveal the skull and part of the brain – two of these are brown skinned and stand side by side, evoking twins (the subject of ongoing fascination for Hirst). The cabinets also contain an enlarged brain; an enlarged heart; a pelvis and full set of vertebrae (painted various shades of green); an infant’s spine; hand, arm, leg and foot bones; an enlarged bisected kidney; a gynaecological model of a newborn infant; and a model of a woman’s lower torso, genitals and upper thighs. The largest object is a torso and head sliced horizontally into fifteen parts and hinged on a vertical stand so that they can be viewed separately.\n<br/>\n<br/>Hirst’s earliest use of the vocabulary of medicine for making art dates to the cabinets filled with pharmaceutical packaging that he created between 1989 and 1992, culminating in the room-sized installation <i>Pharmacy </i>1992 (<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hirst-pharmacy-t07187\" title=\"View the details of this artwork\"><span>T07187</span></a>). In a group of works entitled <i>The Lovers </i>1991 (reproduced <i>Damien Hirst</i>, pp.118–19) he presented real specimens (internal organs taken from cows) in formaldehyde solution in jars lined up in rows on formica-covered cabinet shelves, the precursors to such works utilising whole and bisected animal carcasses as <i>Mother and Child Divided </i>1993 (<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hirst-mother-and-child-divided-t12751\" title=\"View the details of this artwork\"><span>T12751</span></a>) and <i>Away from the Flock</i> 1994 (<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hirst-away-from-the-flock-ar00499\" title=\"View the details of this artwork\"><span>AR00499</span></a>). The titles of these works herald the references to Christian iconography that have become central to Hirst’s artistic language, which equates medical science with religion and art. He first used a medical model as the basis for sculpture in 1999–2000, when he massively enlarged a semi-skinned and eviscerated male head and torso and cast it in painted bronze. Entitled <i>Hymn</i>\n(reproduced <i>Damien Hirst </i>p.217), this sculpture, like <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hirst-trinity-pharmacology-physiology-pathology-ar00500\" title=\"View the details of this artwork\"><span>AR00500</span></a>, embodies Hirst’s equation of medical science with Christianity – both of which he views as belief systems which promise, but fail to deliver, any real redemption for our common fate – death. <i>Trinity – Pharmacology, Physiology, Pathology </i>presents three types of medical science – the study of drugs, the functioning of the body and the study of disease – as metaphors for the holy trinity of the Christian church which unites the Father, Son and Holy Spirit in one. The format of the triptych is common in church altar-pieces, although they do not usually depict the actual trinity. In the same way, Hirst’s <i>Trinity </i>is a metaphorical association of image with idea, rather than actual illustration. In 2005 he commented:\n<br/></p>\n<blockquote>I just can’t help thinking that [medical] science is the new religion for many people ... there [are] four important things in life: religion, love, art and science. At their best, they’re all just tools to help you find a path through the darkness. None of them really work that well, but they help. Of them all, science sees to be the one right now. Like religion, it provides the glimmer of hope that maybe it will be all right in the end ... I want ... people to think about the combination of science and religion, basically. People tend to think of them as two very separate things, one cold and clinical, the other emotional and loving and warm. I [want] to leap over those boundaries and give you something that looks clinical and cold but has all the religious, metaphysical connotations too.</blockquote>\n<blockquote>(Quoted in <i>Damien Hirst: New Religion</i>, exhibition catalogue, Paul Stolper, London 2005, p.V.)</blockquote>\n<p>\n<br/>\n<br/><b>Further reading:</b>\n<br/>Eduardo Cicelyn, Mario Codognato and Mirta D’Argenzio, <i>Damien Hirst</i>, exhibition catalogue, Museo Archeologico Nazionale, Naples 2004, reproduced pp.210–11 and 212–13 (detail).\n<br/>\n<br/>Elizabeth Manchester\n<br/>October 2009\n<br/>\n<br/></p>\n",
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] | <p><span>Light Headed </span>is a photographic work by artist duo Gilbert & George consisting of fifteen individually framed pieces arranged to produce a single image. The thin, black lines of the frames form a five by three grid across the composition. In <span>Light Headed</span> two arms emerge from the bottom edge of the image, each clad in a maroon, buttoned sleeve with a pink shirt cuff. Tinted red, with one forming a ‘V’ between thumb and fingers and the other forming a fist, the hands at the end of these arms support the heads of Gilbert & George, depicted without bodies. George’s head is on the right, staring directly out at the viewer; Gilbert’s is on the left, seeming to direct his gaze into the middle distance. Behind the artists’ heads is a coastal landscape with several boats resting on the shore at low tide. The artists and scenic background are overlaid in three bright dyes – red, pink and yellow. In keeping with this palette, the title of the work is printed in pink drop-shadowed letters on orange in the lower right panel.</p> | false | 1 | 1163 | paper unique 15 hand-coloured photographs gelatin silver print board | [
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"content": "<div class=\"text\">\n<p>\n<i>Light Headed </i>is a photographic work by artist duo Gilbert & George consisting of fifteen individually framed pieces arranged to produce a single image. The thin, black lines of the frames form a five by three grid across the composition. In <i>Light Headed</i> two arms emerge from the bottom edge of the image, each clad in a maroon, buttoned sleeve with a pink shirt cuff. Tinted red, with one forming a ‘V’ between thumb and fingers and the other forming a fist, the hands at the end of these arms support the heads of Gilbert & George, depicted without bodies. George’s head is on the right, staring directly out at the viewer; Gilbert’s is on the left, seeming to direct his gaze into the middle distance. Behind the artists’ heads is a coastal landscape with several boats resting on the shore at low tide. The artists and scenic background are overlaid in three bright dyes – red, pink and yellow. In keeping with this palette, the title of the work is printed in pink drop-shadowed letters on orange in the lower right panel.</p>\n<p>Gilbert & George first produced photographic compositions in the 1970s, and gridded assemblages formed by individual prints would become a major and lasting part of their artistic output. The fifteen prints in <i>Light Headed</i> were developed using the gelatin silver process, which produces black and white images. In the case of this work the photographs were printed on resin-coated paper and later hand-coloured before being dry mounted on thin board and framed in black-painted aluminium frames with Perspex glazing. When exhibited, the fifteen framed works are hung on horizontal tracks.</p>\n<p>In the late 1980s and early 1990s Gilbert & George increasingly used vivid dyes in their works, such as those exhibited in <i>For AIDS </i>at the Anthony d’Offay Gallery, London, in 1989<i>.</i> The use of bright colours in <i>For AIDS</i> and in subsequent series has been interpreted as an expression of Gilbert & George’s personal losses from the AIDS epidemic. The artists’ emotional honesty is evidenced by the exposed, outward gazes that the duo present to the viewer in <i>Light Headed</i>. In the pair’s 2000–4 conversations with art critic François Jonquet, Gilbert discussed the importance of including themselves in their pictures: ‘We project our feelings about the world, the ideas it inspires in us. Our sadness. Our own world… Not all artists do it this way. They paint things from the outside, they’re not part of the work, but we are’ (Gilbert in François Jonquet, <i>Gilbert & George: Intimate Conversations with François Jonquet</i>, London 2004, p.127). The artists’ grief over the loss of their friends is reflected in <i>Light Headed</i> in numerous aspects of the composition. Their bodiless heads rise into the frame supported by hands formed in archetypically contemplative gestures. The background seascape presents a quietly mournful vista reminiscent of a Viking ship burial. The title, <i>Light Headed</i>, perhaps implies the emotional drain from the loss the artists have experienced.</p>\n<p>While the duo’s work from this period has been interpreted as simply fantastical, this analysis neglects the deeper significance of these pictures. Art historian Michael Bracewell writes that in these works, ‘the artists appear like travellers within cosmic, magic-realist visions, fables and dreams’ (Michael Bracewell, ‘“Fournier World”: The Art of Gilbert & George 1967–2007’, in Tate Modern 2007, p.35). While <i>Light Headed </i>is imbued with a surreal, fantastical quality due to the visual cacophony of colours, this interpretation perhaps sits awkwardly in relation to a scene whose apparent tranquillity is in fact misleading. Art historian Marco Livingstone has written that in these works one finds a ‘tragic sense of AIDS-related loss that worms its way insidiously through their work, haunting even the most apparently benign motifs’ (Marco Livingstone, ‘From the Heart’, in Tate Modern 2007, p.23). This juxtaposition of overall calmness with an essentially tragic composition presented in vibrant colours is seen in many of the pair’s works from this period (see, for example, <i>Dead Heads</i> 1989, Tate <span>AL00195</span>).</p>\n<p>\n<i>Light Headed </i>was created as part of the 1991 series <i>New Democratic Pictures</i> that was exhibited at the Anthony d’Offay Gallery in London the same year. Consisting of twenty-seven monumentally scaled pieces, <i>New Democratic Pictures</i> is notable for its strong complementary colours (see, for example, <i>Faith Drop</i> 1991, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/gilbert-george-faith-drop-ar00176\" title=\"View the details of this artwork\"><span>AR00176</span></a>). Most significantly, the colour red had gained new meaning in relation to the AIDS epidemic in Gilbert & George’s work since their series <i>The Cosmological Pictures</i> 1989, in which the colour represented the newfound fear of blood that the epidemic had prompted. <i>Light Headed</i> and <i>Sea View </i>1991 (private collection; reproduced in Sørensen and Kold 1992, p.77)<i> </i>stand out in the <i>New Democratic Pictures</i> series as the only two pieces that do not depict city scenery.</p>\n<p>\n<i>New Democratic Pictures</i> was the first series by the artists that depicted Gilbert & George entirely naked (see, for instance, <i>Family Tree</i> 1991, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/gilbert-george-family-tree-ar00175\" title=\"View the details of this artwork\"><span>AR00175</span></a>). Removal of their clothing can be seen as a continuation of the artists’ stated aim to present an honest account of their vision of life. In the artists’ 1986 statement ‘What Our Art Means’, Gilbert & George declared: ‘We want to learn to respect and honour “the whole”. The content of mankind is our subject and our inspiration.’ (Gilbert & George, ‘What Our Art Means’, reproduced in Hans Ulrich Obrist and Robert Violette (eds.), <i>The Words of Gilbert & George</i>, London 1997, p.149.) Although Gilbert & George are represented without bodies in <i>Light Headed</i> and as a result are not seen naked, the artists’ open gaze seems to offer a psychological ‘nakedness’ to the viewer.</p>\n<p>\n<b>Further reading</b>\n<br/>Jens Erik Sørensen and Anders Kold (eds.), <i>Gilbert & George: New Democratic Pictures</i>, exhibition catalogue, Aarhus Kunstmuseum, Aarhus 1992, reproduced p.67.<br/>\n<i>Gilbert & George:</i> <i>The Complete Pictures, 1971–2005</i>, vol.2, London 2007, reproduced p.787.<br/>\n<i>Gilbert & George: Major Exhibition</i>,<i> </i>exhibition catalogue, Tate Modern,<i> </i>London 2007, reproduced p.133.</p>\n<p>Daisy Silver<br/>The University of Edinburgh<br/>June 2016</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>\n<i>Existers </i>is a photographic work by artist duo Gilbert & George in which the pair are depicted in a collage-like composition with a large group of young men. The work consists of twenty-eight individually framed photographic prints arranged to produce a single image, with the thin black frames forming a four by seven grid across the composition. The artists are positioned on the left side of the scene, with George crouching, wearing a blue suit, and Gilbert lying down in a foetal position at his feet, wearing a red suit. Both artists look out towards the viewer. The other figures strike a variety of poses and each individual’s clothing, hair, ears and lips are tinted in several bright, unnatural colours. While some of the youths look to be on the cusp of adulthood, others appear to be prepubescent. The majority of the composition is occupied by these figures set against a grey background divided by an irregular grid. The title and date of the work, in addition to the artists’ signatures, are printed in the bottom right panel.</p>\n<p>The twenty-eight prints in <i>Existers</i> were developed using the gelatin silver process, which produces black and white images. The photographs were printed on resin-coated paper and later hand-coloured before being dry mounted on thin board and framed in black-painted aluminium frames with Perspex glazing. When exhibited, the framed works are hung on horizontal tracks.</p>\n<p>From the 1980s onwards Gilbert & George’s work increasingly included photographs of young men. In <i>Existers</i> these youths are arranged in a variety of poses, creating a powerful composition. Despite their adolescence, the models gaze steadfastly and unintimidated in various directions. Their conviction is further evidenced by the confidence of their stances. Some figures appear with arms raised, while others squat with hands pressed firmly onto the ground or on their thighs. The artists’ aim was to counter the negative stereotypes commonly applied to this demographic that cast them as loutish and uncultured. In conversations with art critic François Jonquet 2000–4, Gilbert explained: ‘When using models, we devoted all our power to making them totally beautiful.’ (François Jonquet, <i>Gilbert & George: Intimate Conversations with François Jonquet</i>, London 2004, p.121.)</p>\n<p>When Gilbert & George first began to photograph people other than themselves it was from a distance, often through the window of their home on Fournier Street in east London. Only after several years of covert photography did they begin to invite strangers to model for them. With the installation of professional photographic equipment in their home studio, the artists could capture images of the youths with increased artistic control. This is notable in <i>Existers</i>, where the individuals are organised in poses that were likely directed by the artists. Art historian Anders Kold writes that as with Gilbert & George’s ‘living sculptures’ (see, for instance, their early performance <i>The Singing Sculpture </i>1969), the youths depicted in <i>Existers</i> are equally ‘invested with a theatrical intensity and a certain pathos. These are not people at work, but on a stage’ (Jens Erik Sørensen and Anders Kold (eds.), <i>Gilbert & George: New Democratic Pictures</i>, exhibition catalogue, Aarhus Kunstmuseum, Aarhus 1992, p.17). Kold’s interpretation corresponds with art historian Brenda Richardson’s suggestion that Gilbert & George’s male subjects are cast in roles:</p>\n<p class=\"cttext\">\n</p><blockquote>The figures that appear in the photo-pieces are selected precisely because they express the special vitality of those primal life forces – sexuality and religiosity – at their most formative and explosive states, namely, in the prime of youth. Like artists from virtually the beginning of time, Gilbert and George employ models and direct them in studio shooting sessions toward particular poses and expressions. The artists think of their subjects as material – a kind of clay to be moulded into a new image. The ‘campaigning artists’ view these youths that appear so often in their work as both knights and procreators, and they cast them as the heroes of their visual sermons, carefully composed narratives conceived as moral instruction.<br/>(Brenda Richardson, <i>Gilbert & George</i>, exhibition catalogue, Baltimore Museum of Art, Baltimore 1984, p.17.)</blockquote>\n<p>In this light the composed scene in <i>Existers</i> can be seen as the result of Gilbert & George’s guidance and directing of these youths. The title enforces this idea further, suggesting that the duo intended to confirm the ‘existence’ of these unwanted individuals to the art world. In conversations with Jonquet, George explained that the art world ‘couldn’t handle works of modern art showing young people from neighbourhoods where they themselves didn’t want to live, where they wouldn’t even choose to go’ (George in Jonquet 2004, p.116). To contradict this attitude, Gilbert & George adopt similar poses to the youths in <i>Existers</i>, implying that the artists occupy the same social standing as their models. This idea of a relationship with these boys is explored in greater depth later in their artistic career with <i>Family Tree</i> 1991 (<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/gilbert-george-family-tree-ar00175\" title=\"View the details of this artwork\"><span>AR00175</span></a>), where the artists place themselves at the base of a tree with the faces of East End youths hanging on its branches. Unlike <i>Existers</i>, Gilbert & George’s separate positioning in <i>Family Tree</i> can be understood as Gilbert & George casting themselves as surrogate fathers to the disaffected youths rather than as equals.</p>\n<p>\n<b>Further reading</b>\n<br/>Carter Ratcliff, <i>Gilbert & George:</i> <i>The Complete Pictures, 1971–1985</i>, exhibition catalogue, Musée d’Art Contemporain de Bordeaux, Bordeaux 1986, reproduced p.234.<br/>\n<i>Gilbert & George:</i> <i>The Complete Pictures, 1971–2005</i>, vol.1, London 2007, reproduced p.499.<br/>\n<i>Gilbert & George: Major Exhibition</i>, exhibition catalogue, Tate Modern,<i> </i>London 2007, reproduced p.113.</p>\n<p>Daisy Silver<br/>The University of Edinburgh<br/>May 2016</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>\n<i>Partial Truth</i> comprises a rectangular slab of polished black granite into which have been carved the words ‘PARTIAL TRUTH’ over two lines in the Roman-style lettering <i>scriptura monumentalis</i>. While the word ‘PARTIAL’ is centrally aligned on the upper register, the word ‘TRUTH’ below is indented slightly to the right of centre. The inscribed letters are a lighter colour than the polished surface of the slab so that they stand out against the black. The artist has specified that the sculpture may be displayed directly on the floor, propped up against a wall, or placed on a gilded shelf. When installed on the floor the slab is placed on a shallow wooden plinth, with the letters pointing up to the ceiling, so that a shadow is cast underneath the slab making it appear as though it is floating just above the floor. On the reverse side, ‘Bruce Nauman’ has been inscribed into the stone using a machine, accompanied by the stone-maker’s mark ‘Gemini GEL’ and a symbol comprising the letter U within a small circle. The reverse left corner has been inscribed BN97-2181 5/25, indicating that this work is number five of an edition of twenty-five.</p>\n<p>As is the case with many of Nauman’s works, including his neon pieces, the actual fabrication of the work was done by someone else, in this case a stone craftsman. Nauman’s specific plans, in the form of drawings, were followed in the process of constructing the final piece. In addition to this series of granite works Nauman produced fifty prints with the same phrase, ‘PARTIAL TRUTH’, rendered in the same <i>scriptura monumentalis </i>font, for the Aldrich Museum of Contemporary Art on the occasion of their 1997 exhibition <i>Bruce Nauman: 1985–1996: Drawings, Prints, and Related Works</i>. Prior to making <i>Partial Truth</i> Nauman executed a series of seven black granite slabs titled <i>Seven Virtues/Seven Vices</i> (private collection) in 1983–4, which were his first works in carved black granite. He had previously used blocks of granite for a 1976 work, <i>Enforced Perspective: Allegory and Symbolism</i> (Ace Contemporary Exhibitions, Los Angeles), although this did not include text. In 1989 the artist also used granite slabs for <i>Elliott’s Stones </i>(Museum of Contemporary Art, Chicago), a work made for the contemporary art collector Gerald S. Elliott.</p>\n<p>In a 2001 interview with the curator Joan Simon, in response to the question of whether he was thinking of working in neon again, Nauman explained where the idea for <i>Partial Truth</i> came from:</p>\n<p class=\"cttext\">\n</p><blockquote>No. The last one that almost came up was the piece I did, <i>Partial Truth</i>, when Konrad [the art dealer Konrad Fischer] was dying. It was the year that Susan [Rothenberg] and I had sublet a loft in New York. Konrad had heard about that. He called and said, ‘Bruce, I hear you’re moving to New York.’ I said. ‘No, well maybe partly. This is partly true.’ And he said, ‘This is a piece. We’ll make this piece.’ So I didn’t really think about it very much, but I did make a drawing. By the time I’d made a drawing, he’d already made plans to have it made in neon. Then he died before anything got done. I didn’t really want to do it in neon; it seemed appropriate to do it in stone. That was the last tiny thing that almost got done in neon.</blockquote>\n<blockquote>(Cited in Kraynak 2003, pp.392–3.)</blockquote>\n<p>Nauman specifically chose granite for <i>Partial Truth</i> to honour his friendship with Fischer. The choice of material and font in which the words are inscribed evoke those used for gravestones, imbuing the work with quiet pathos. Curator Eugen Blume views <i>Partial Truth</i> as ‘characteristic’ of a broader tendency in art of the 1990s that sought ‘to turn over a new leaf, to contest the whole mechanical, routine, unresisting code of affirmativity’ (Blume 2010, p.46). While the use of granite and the <i>scriptura monumentalis</i> font speak of memorialisation, the change of artistic direction that it signaled, from the glow of neon to the more antiquated format of a stone carving, highlights a shift in artistic practice. Moreover, the words ‘PARTIAL TRUTH’ resist confirming completeness, implying that not all is what it seems.</p>\n<p>\n<b>Further reading</b>\n<br/>Jill Snyder and Ingrid Schaffner, <i>Bruce Nauman: 1985–1996: Drawings, Prints and Related Works</i>, exhibition catalogue, Aldrich Museum of Contemporary Art, Ridgefield 1997.<br/>Joan Simon, ‘Bruce Nauman: Vices and Virtues: Interview’, 2001, in Janet Kraynak (ed.), <i>Please Pay Attention Please: Bruce Nauman’s Words</i>, Cambridge, Massachusetts 2003, pp.384–95.<br/>Eugen Blume, ‘Bruce Nauman: Live or Die – or: The Measuring of Being’, in Friedrich Christian Flick Collection (ed.), <i>Bruce Nauman: Live or Die</i>, exhibition catalogue, Hamburger Bahnhof-Museum für Gegenwart, Berlin 2010, pp.8–53.</p>\n<p>Ariana Musiol<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>\n<i>Setting a Good Corner (Allegory and Metaphor) </i>is a single-channel video work in colour with stereo sound. The video is presented on a television monitor and runs continuously on a loop. From a stationary position the camera records Bruce Nauman as he builds a corner fence on his property, Las Madres Ranch in New Mexico. The landscape seen within the frame of the video is flat and fairly dry, with grassland and bushes visible in the background. The video is in real time and runs for fifty-nine minutes and eighteen seconds, just under one hour, which is one of the standard lengths of video cassette tapes. When exhibited the monitor is presented on a plinth or trolley. This copy of the video is number 27 in an edition of 40.</p>\n<p>The video begins with text scrolling up the screen, white on a black background, introducing the work and the task Nauman is seen performing in it. In this text Nauman notes that a good fence cannot be built or maintained without a good corner, that the posts are made of nine-foot long cedar railroad ties (railway sleepers), and that the wire he uses is smooth, not barbed, so as to avoid snagging his clothes and using obscene language. Nauman also states that he learnt this way of setting a corner from one Gene Thornton, though the mistakes he makes are his, not Thornton’s. As the action of the video begins there are already two sturdy wooden posts in the ground, to the left of the frame. Nauman is seen digging a deep hole using a red vehicle with an attachment that bores into the ground. He uses a spade and other tools to remove excess soil from the hole in which he then sets a third post, forming a corner. Of the nine-foot post, about half its length is buried in the ground for stability. Nauman then places wooden crossbeams, or ‘H braces’, between the posts, and pulls wire diagonally across them. The last thing he does is to bring in a green gate, which he places to the left of the frame, against the central post. Because the video is not cut or edited, it also records everyday occurrences such as Nauman’s wife and dogs visiting him while he works. At the end of the video white text scrolls up the screen on a black background. This text is introduced as an epilogue and includes the comments of Nauman’s neighbour and partner on the ranch, Bill Riggins. Riggins, more familiar with ranch work than Nauman, notes the hardness of the clay, and that Nauman tamped the fence posts in well, making sure there were no pockets of air that would allow the posts to work lose. Riggins also advises that Nauman should always keep his tools in the same place so that he can find them and that he should sharpen his chainsaw.</p>\n<p>\n<i>Setting a Good Corner</i> comes out of Nauman’s concerns, which began earlier in his career, with duration and time, ‘where you could control the length of the film or videotape or activity by having a specific job. You began when the job started; and when the job was over, the film was over.’ (Nauman in ‘“Setting a Good Corner”: Bruce Nauman’, <i>Art21</i>, November 2011, <a href=\"http://www.art21.org/texts/bruce-nauman/interview-bruce-nauman-setting-a-good-corner\">http://www.art21.org/texts/bruce-naman/interview-bruce-nauman-setting-a-good-corner</a>, accessed 11 December 2013). This became a way to structure the work, so that once the task was set Nauman did not have to concern himself with the outcome, but rather focus on completing the job.</p>\n<p>In that it records the undertaking of everyday manual labour – an unexceptional chore undertaken by all those who live and work on a ranch – the video documents an aspect of the artist’s work that is not conventionally understood as art. Critic Eugen Blume has examined the blurring of roles that Nauman plays in the video:</p>\n<p class=\"cttext\">\n</p><blockquote>On the one hand, it is a self-portrait of Nauman in his other life as a farmer. A cowboy decked out in the full regalia of his calling and equipped with all the necessary tool sets a corner for one of those archetypical ranch fences used to prevent the horses or cows from straying too far afield. In the course of the action the functional matter-of-factness of this procedure is transposed into the non-functional form of an artwork, whose producer in turn presents himself in his second role as artist.<br/>(Blume 2010, p.95.)</blockquote>\n<p>The second part of the work’s title, <i>(Allegory and Metaphor)</i>, might suggest that this work can be read metaphorically so that like the corner itself, the video captures a meeting of two places: Nauman’s roles as both artist and rancher. An allegorical reading, on the other hand, might suggest the work has a lesson of some kind to impart. As a student at the University of Wisconsin Nauman absorbed ideas from his professors about the moral potential of art and he has stated: ‘there is the particularly American idea about morality that has to do with the artist as workman. Many artists used to feel all right about making a living with their art because they identified with the working class.’ (Nauman in Simon 1987, p.322.) The act of ‘setting a good corner’ foregrounds Nauman’s role as labourer and the kind of moral imperative implied in having a strong work ethic and doing a job well.</p>\n<p>When he viewed a first cut of the video, Nauman’s neighbour, Bill Riggins, whose words appear at the end of the tape, said: ‘Boy, you’re going to get a lot of criticism on that because people have a lot of different ways of doing those things’ (quoted in ‘“Setting a Good Corner”: Bruce Nauman’, accessed 11 December 2013). For this reason Nauman decided to include comments from his neighbour on the tape in order to acknowledge his superior expertise, ‘about keeping your tools sharpened and not letting them lie on the ground, where they get hurt or get abused and dirty, and you can’t find them’, as Nauman has said. (Nauman in ‘“Setting a Good Corner”: Bruce Nauman’, accessed 11 December 2013.) In comparison with the firmly established locals, Nauman was relatively new to ranch work, having moved to Pecos, New Mexico, in 1979, where he built a studio on his property. Although it is rare for his work to reflect the specific environment of New Mexico, this particular film sheds light on the life the artist leads in the southwest and in the landscape he experiences every day. Indeed, the work’s outdoor setting is unusual in that the majority of Nauman’s video works are filmed inside the studio (see, for example, <i>MAPPING THE STUDIO II with color shift, flip, flop, & flip/flop (Fat Chance John Cage) </i>2001, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/nauman-mapping-the-studio-ii-with-color-shift-flip-flop-flip-flop-fat-chance-john-cage-t11893\" title=\"View the details of this artwork\"><span>T11893</span></a>).</p>\n<p>\n<b>Further reading</b>\n<br/>Joan Simon, ‘Breaking the Silence: An Interview with Bruce Nauman’ [1987], in Janet Kraynak (ed.), <i>Please Pay Attention Please: Bruce Nauman’s Words</i>, Cambridge, Massachusetts 2003, pp.317–38.<br/>Lynne Cooke, ‘The Revealer of Mystic Truths’, in Laurence Sillars (ed.), <i>Bruce Nauman: Make Me Think Me</i>, exhibition catalogue, Tate Liverpool, Liverpool 2006, pp.82–9, reproduced p.85.<br/>Eugen Blume, <i>Bruce Nauman: Live or Die</i>, exhibition catalogue, Hamburger Bahnhof – Museum für Gegenwart, Berlin 2010, p.95, reproduced p.104.</p>\n<p>Ariana Musiol<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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] | <p><span>Untitled (Coffee)</span> 1989–91 is a wall-mounted work consisting of a rectangular glass-fronted box half-filled with coffee beans. The back panel of this steel box is mounted with off-white paper to which a small sheet of lead is affixed at the top left-hand corner. Two dark lines are etched from the centre of the lead, marking a diagonal course downwards to the right until they meet the slope of the coffee beans. From 1989 to 2005 Kounellis made a series of works produced in editions, described as multiples, in which he incorporated elements drawn from the vocabulary of his earlier practice. <span>Untitled (Coffee)</span> is one of these multiples, produced in an edition of twenty-five.</p> | false | 1 | 1438 | sculpture metal glass etching paper coffee beans lead | [
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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>Untitled (Coffee)</i> 1989–91 is a wall-mounted work consisting of a rectangular glass-fronted box half-filled with coffee beans. The back panel of this steel box is mounted with off-white paper to which a small sheet of lead is affixed at the top left-hand corner. Two dark lines are etched from the centre of the lead, marking a diagonal course downwards to the right until they meet the slope of the coffee beans. From 1989 to 2005 Kounellis made a series of works produced in editions, described as multiples, in which he incorporated elements drawn from the vocabulary of his earlier practice. <i>Untitled (Coffee)</i> is one of these multiples, produced in an edition of twenty-five.</p>\n<p>\n<i>Untitled (Coffee)</i> could be seen as a small version of the larger work <i>Untitled </i>1989 (Nationalgalerie, Berlin), which consists of a wall of coffee between two panes of glass. The lines printed on the lithograph in this work, almost directly quote one of the arched hooks in <i>Untitled</i> 1989. Coffee is an important material in much of Kounellis’s work, largely for its olfactory properties. He notes: ‘I have often used smell, an element missing in paintings that became something represented in painting. But for me, the smell of coffee, this is painting, because it’s a reality, but it’s also an idea of travelling, an idea of adventure.’ (Quoted in Baker, p.42.) Such implications are also present in another work by Kounellis, <i>Untitled</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/kounellis-untitled-ar00069\" title=\"View the details of this artwork\"><span>AR00069</span></a>), in which one of the seven burlap sacks is full of coffee beans, allowing the smell to permeate the gallery space.</p>\n<p>Curator Dieter Roelstraete has argued that Kounellis uses coffee because its distinct smell provides immediate access to a rich range of associations, both personal, in the mind of the viewer, and cultural, in a more symbolic sense. Roelstraete writes:</p>\n<p class=\"cttext\">\n</p><blockquote>The symbolic associations involved the notion of meeting, the exchange of experiences around a table set with coffee and sweets; the small, daily epic of giving and taking, the convivial gesture; the central liturgy in the conversational culture of coffee houses that was passed to Europe from the Levant in the seventeenth and eighteenth centuries.<br/>(Roelstraete 2002, p.15.)</blockquote>\n<p>The lead element of the panel also gestures to other works by Kounellis such as <i>Untitled </i>1968–90 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kounellis-untitled-ar00068\" title=\"View the details of this artwork\"><span>AR00068</span></a>) as well as <i>Untitled</i> 1988 (Bernier/Eliades). The artist has described the metal sheets used in his work as ‘sheets of paper’, suggesting that he considers it to be a backdrop or support from which to build up the work (Roelstraete 2002, p.16). However, unlike other larger scale works, in <i>Untitled (Coffee)</i> the lead sits on top of a paper support, acting more like a quotation of earlier works – a theme that runs through many of the works in the series of multiples (see <i>Untitled (Knife and Train)</i> 2002 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kounellis-untitled-knife-and-train-ar00074\" title=\"View the details of this artwork\"><span>AR00074</span></a>) and <i>Untitled (Sack with Z)</i> 2001 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kounellis-untitled-sack-with-z-ar00583\" title=\"View the details of this artwork\"><span>AR00583</span></a>)).</p>\n<p>\n<b>Further reading</b>\n<br/>Dieter Roelstraete, <i>Kounellis</i>, exhibition catalogue, Stedelijk Museum Voor Actuele Kunst, Gent 2002.<br/>Stephen Bann, <i>Jannis Kounellis, </i>London 2003.<br/>Kenneth Baker, ‘Jannis Kounellis’, <i>Art and Auction, </i>vol.32, no.5, January 2009.</p>\n<p>Ruth Burgon<br/>University of Edinburgh<br/>January 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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] | <p><span>Untitled (Hanging Knife)</span> 1991 consists of several objects arranged within a wall-mounted shallow box. The portrait-orientated box is made of galvanised steel and is glass-fronted. The back of the box is lined with a sheet of handmade paper on which there is an etching in black ink of a circle formed of many loosely drawn lines. The paper has two raw edges, at the sides, and two cut edges, at the top and bottom. It is pierced near the top, in the centre, by an S-shaped butcher’s hook. From this hook a sharp cook’s knife hangs down vertically by a hole in its red hardwood handle. The knife has a riveted steel blade with ROSTFREI etched on the reverse (facing the paper). From 1989 to 2005 Kounellis made a series of works produced in editions, described as multiples, in which he incorporated elements drawn from the vocabulary of his earlier practice. <span>Untitled (Hanging Knife)</span> is one of these multiples, and is number ten of an edition of twenty-five.</p> | false | 1 | 1438 | sculpture metal glass etching paper hook knife | [
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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>Untitled (Hanging Knife)</i> 1991 consists of several objects arranged within a wall-mounted shallow box. The portrait-orientated box is made of galvanised steel and is glass-fronted. The back of the box is lined with a sheet of handmade paper on which there is an etching in black ink of a circle formed of many loosely drawn lines. The paper has two raw edges, at the sides, and two cut edges, at the top and bottom. It is pierced near the top, in the centre, by an S-shaped butcher’s hook. From this hook a sharp cook’s knife hangs down vertically by a hole in its red hardwood handle. The knife has a riveted steel blade with ROSTFREI etched on the reverse (facing the paper). From 1989 to 2005 Kounellis made a series of works produced in editions, described as multiples, in which he incorporated elements drawn from the vocabulary of his earlier practice. <i>Untitled (Hanging Knife)</i> is one of these multiples, and is number ten of an edition of twenty-five.</p>\n<p>Kounellis uses knives throughout his work. In <i>Untitled </i>1994 (Portalakis Collection, Athens), for example, four sharp knives are fixed to an iron panel with their blades facing outward. The knives threaten the onlooker, warding them away from the marked metal surface. In comparison <i>Untitled (Hanging Knife) </i>is less aggressive, with the blade of the knife behind glass and pointing downwards. However, the combination of sharp blade and piercing hook is nonetheless suggestive of violence.</p>\n<p>The latent violence of the work is not only implied by these threatening objects, but also in the precariousness of their staging. Curator Dieter Roelstraete notes the prevalence of suspension in Kounellis’s practice, specifically with his monumental steel sculptures that hang from the ceiling, ‘their colossal weight being part of the precise reason why they should be hung: the heavier they are, the more important the act of hanging’ (Roelstraete 2002, p.27). Roelstraete suggests that there is violence in this act, since suspension of an object places it in a position of potential, so that one might imagine its destructive drop. In <i>Untitled (Hanging Knife)</i> such latent power is also suggested by the lines of the circular etching, which contain suggestions of a manic, energetic scrawl. These oscillating lines add a sense of mobility to the suspended knife, as well as focusing the viewer’s attention on the blade.</p>\n<p>\n<b>Further reading</b>\n<br/>Dieter Roelstraete, <i>Kounellis</i>, exhibition catalogue, Stedelijk Museum Voor Actuele Kunst, Gent 2002.<br/>Stephen Bann, <i>Jannis Kounellis, </i>London 2003.</p>\n<p>Ruth Burgon<br/>University of Edinburgh<br/>January 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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Metal, glass, burlaq sack and coal | [
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] | <p><span>Untitled (Sack with Z)</span> 2001 is a mesh-fronted, shallow metal box containing a jute sack filled with coal. On the front of the sack a large letter ‘Z’ is printed in black paint. The sack takes up three-quarters of the space within the box, and the top of the sack is slightly rolled back so that some of the coal is visible. From 1989 to 2005 Kounellis made a series of works produced in editions, described as multiples, in which he incorporated elements drawn from the vocabulary of his earlier practice. <span>Untitled (Sack with Z)</span> is one of these multiples, produced in an edition of twenty-five.</p> | false | 1 | 1438 | sculpture metal glass burlaq sack coal | [
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] | Untitled (Sack with Z) | 2,001 | ARTIST ROOMS Tate and National Galleries of Scotland | 2001 | CLEARED | 8 | displayed: 650 × 450 × 140 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>Untitled (Sack with Z)</i> 2001 is a mesh-fronted, shallow metal box containing a jute sack filled with coal. On the front of the sack a large letter ‘Z’ is printed in black paint. The sack takes up three-quarters of the space within the box, and the top of the sack is slightly rolled back so that some of the coal is visible. From 1989 to 2005 Kounellis made a series of works produced in editions, described as multiples, in which he incorporated elements drawn from the vocabulary of his earlier practice. <i>Untitled (Sack with Z)</i> is one of these multiples, produced in an edition of twenty-five.</p>\n<p>The stencilled letter ‘Z’ on the sack resembles the stencilled letters, numbers and symbols found in the artist’s early alphabet paintings, such as <i>Untitled</i> 1960 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kounellis-untitled-ar00614\" title=\"View the details of this artwork\"><span>AR00614</span></a>). In these works Kounellis used cryptic combinations of symbols to create patterns across the picture plane. In <i>Untitled (Sack with Z)</i> the ‘Z’ might also refer to the last letter of the alphabet or offer a symbol for finality or closure. As with Kounellis’s alphabet paintings, however, the meaning of the letter remains ambiguous.</p>\n<p>Kounellis has used sacks of coal throughout his career, one of the earliest examples being <i>Untitled </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/kounellis-untitled-ar00069\" title=\"View the details of this artwork\"><span>AR00069</span></a>). In a 2002 interview the artist reflected: ‘You know that I used burlap sacks in many of my works. Those sacks are tied to the idea of maritime commerce. You can find them in every Levantine harbor. But you find them in New York or in South America too, the whole world over.’ (Quoted in Codognato and d’Argenzio 2002, p.317.) The sack of coal in this work might allude to trade and commerce as Kounellis suggests, recalling the artist’s place of birth, Piraeus, the busy port town of Athens.</p>\n<p>For Kounellis the physical reality of the materials in his work is important. When, for example, he uses coal it is important that it is real, as he states: ‘A hundredweight of coal, not plastic painted like coal, not an abstract weight. A weight is what hides, its history, its morality. For the artist a hundredweight of coal is the moral history of an aesthetic.’ (Quoted in Moure 2001, p.313.) It is important to Kounellis to use materials that are what they appear to be. He sees them as authentic and honest, and, for him, their presence thus contains moral authority. The coal here, then, alludes to this sense of integrity.</p>\n<p>\n<b>Further reading</b>\n<br/>Gloria Moure, <i>Jannis Kounellis: Works, Writings 1985–2000</i>, Barcelona 2001.<br/>Mario Codognato and Mirta d’Argenzio (eds.), <i>Echoes in the Darkness: Jannis Kounellis, Writings and Interviews 1966–2002</i>, London 2002.<br/>Stephen Bann, <i>Jannis Kounellis, </i>London 2003.</p>\n<p>Ruth Burgon<br/>University of Edinburgh<br/>January 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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] | <p><span>Untitled (Scissors)</span> 2004 is a wall-mounted work consisting of a portrait-orientated rectangular box made of folded and welded sheet steel with a glass front. In the lower third of the box is a pile of eighteen pairs of chromed tailor’s scissors. The scissors are arranged in two fairly even stacks, with their handles facing towards the outer edges of the box, though a couple of pairs seem to have tumbled from one of the piles. In the upper part of the box a sheet of deep red handmade glass is fixed in place on a metal shelf above the scissors. The red glass takes up most of the upper two thirds of the box and appears flecked and uneven. From 1989 to 2005 Kounellis made a series of works produced in editions, described as multiples, in which he incorporated elements drawn from the vocabulary of his earlier practice. <span>Untitled (Scissors)</span> is one of these multiples, and is number two of an edition of twenty-five.</p> | false | 1 | 1438 | sculpture metal glass scissors | [
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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>Untitled (Scissors)</i> 2004 is a wall-mounted work consisting of a portrait-orientated rectangular box made of folded and welded sheet steel with a glass front. In the lower third of the box is a pile of eighteen pairs of chromed tailor’s scissors. The scissors are arranged in two fairly even stacks, with their handles facing towards the outer edges of the box, though a couple of pairs seem to have tumbled from one of the piles. In the upper part of the box a sheet of deep red handmade glass is fixed in place on a metal shelf above the scissors. The red glass takes up most of the upper two thirds of the box and appears flecked and uneven. From 1989 to 2005 Kounellis made a series of works produced in editions, described as multiples, in which he incorporated elements drawn from the vocabulary of his earlier practice. <i>Untitled (Scissors)</i> is one of these multiples, and is number two of an edition of twenty-five.</p>\n<p>Kounellis began to include everyday objects in his work in the 1960s, an approach associated with arte povera (‘poor art’), an Italian art movement defined by the critic Germano Celant in 1967. This use of materials has remained an important part of the artist’s practice. Kounellis frequently brings together seemingly disparate items, seeking to exploit the suggestions that are made in unlikely juxtapositions. In <i>Untitled (Scissors)</i>, the crimson of the glass holds multiple symbolic connotations from passion and seduction to danger and blood. The scissors in the lower section of the work might give credence to the latter set of connotations, their sharp blades suggesting potential violence. Made the same year as <i>Untitled (Sewing Machine)</i> 2004 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kounellis-untitled-sewing-machine-ar00585\" title=\"View the details of this artwork\"><span>AR00585</span></a>), <i>Untitled (Scissors)</i> might also suggest the work of the tailor or seamstress. Ultimately the narrative of this work remains open, subject to the ambiguous interplay between the connotations of its component parts.</p>\n<p>Kounellis has used glass elsewhere in his oeuvre. In <i>Coal Sculpture with Wall of Coloured Glass</i> 1990–2005 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kounellis-coal-sculpture-with-wall-of-coloured-glass-ar00070\" title=\"View the details of this artwork\"><span>AR00070</span></a>), for example, natural lumps of coloured glass are used, threaded in vertical lines on wires. This use of glass as a raw material contrasts with its production into a pane here in <i>Untitled (Scissors)</i>, hinting at the artist’s interest in industry and manufacture.</p>\n<p>\n<b>Further reading</b>\n<br/>Stephen Bann, <i>Jannis Kounellis, </i>London 2003.</p>\n<p>Ruth Burgon<br/>University of Edinburgh<br/>January 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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] | <p><span>Untitled (Sewing Machine)</span> 2004 is a wall-mounted work consisting of a portrait-orientated rectangular steel box with a glass front. A steel shelf divides the vitrine, affixed diagonally going upwards from left to right. The shelf carries an old Singer sewing machine, while below the shelf is stuffed a folded black coat with blue lining. One of the buttons of the coat is visible, and on it can be seen an anchor decoration. From 1989 to 2005 Kounellis made a series of works produced in editions, described as multiples, in which he incorporated elements drawn from the vocabulary of his earlier practice. <span>Untitled (Sewing Machine)</span> is one of these multiples, and is number eleven of an edition of twenty-five.</p> | false | 1 | 1438 | sculpture metal glass sewing machine coat | [
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] | Untitled (Sewing Machine) | 2,004 | ARTIST ROOMS Tate and National Galleries of Scotland | 2004 | CLEARED | 8 | displayed: 705 × 498 × 210 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>Untitled (Sewing Machine)</i> 2004 is a wall-mounted work consisting of a portrait-orientated rectangular steel box with a glass front. A steel shelf divides the vitrine, affixed diagonally going upwards from left to right. The shelf carries an old Singer sewing machine, while below the shelf is stuffed a folded black coat with blue lining. One of the buttons of the coat is visible, and on it can be seen an anchor decoration. From 1989 to 2005 Kounellis made a series of works produced in editions, described as multiples, in which he incorporated elements drawn from the vocabulary of his earlier practice. <i>Untitled (Sewing Machine)</i> is one of these multiples, and is number eleven of an edition of twenty-five.</p>\n<p>In <i>Untitled (Sewing Machine)</i> the vitrine both contains and separates the coat and machine, with the division made even more striking by the raking angle of the steel shelf. As such, the work seems to play the symbolic connotations of the objects off against one another. For instance the two elements are both the mode and the result of production: the old coat could have been made on a machine similar to that which sits above it. But the juxtaposition of small-scale domestic sewing machine and pea coat associated with the navy, might also mark out the separation between paid work and unpaid domestic labour, as well as between the masculine and feminine.</p>\n<p>Kounellis has used old sewing machines in many of his installations (see, for example, <i>All or Nothing At All</i>, exhibited at Cheim & Read, New York 2013), and in 1986–7 he exhibited in one of the old factories of the Singer Sewing Machine Company on West Jackson Boulevard in Chicago, as part of a multi-site exhibition in that city (see Jacob 1986). Such a location allowed Kounellis to exploit the connections between the factory and the industrial materials frequently found in his work. Indeed, the sewing machines in Kounellis’s installations contain connotations of production and industry. For curator Angela Schneider these sewing machines take on an anthropomorphic quality and ‘appear not so much as the technical instruments they in fact are, but rather as strange beings scurrying across the tables’ (Schneider 2007, p.37). In <i>Untitled (Sewing Machine)</i> one might read both machine and coat as stand-ins for human or animal counterparts. The coat has also been a recurrent motif in Kounellis’s work since the 1970s. Indeed it is often used by the artist as a kind of signature (see for example <i>Untitled</i> 2004, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kounellis-untitled-ar00073\" title=\"View the details of this artwork\"><span>AR00073</span></a>).</p>\n<p>\n<b>Further reading</b>\n<br/>Mary Jane Jacob, <i>Jannis Kounellis</i>, exhibition catalogue, Museum of Contemporary Art, Chicago 1986.<br/>Stephen Bann, <i>Jannis Kounellis, </i>London 2003.<br/>Angela Schneider (ed.), <i>Jannis Kounellis in the Neue Nationalgalerie</i>, exhibition catalogue, Neue Nationalgalerie, Berlin 2007.</p>\n<p>Ruth Burgon<br/>University of Edinburgh<br/>April 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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] | <p><span>Untitled (Hair)</span> 2004 is a wall-mounted work that consists of a portrait-orientated steel box in which four hanks of long, black human hair are arranged. The shallow, glass-fronted box is displayed upright on the wall and contains a flat steel panel into which have been punched eight holes in two columns – one set of four towards the left side of the panel and the other set of four towards the right. The hanks of hair have been threaded through these holes so that they hang horizontally across the steel panel, appearing roughly parallel to one another in four curved lines.</p> | false | 1 | 1438 | sculpture metal glass hair | [
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] | Untitled (Hair) | 2,004 | ARTIST ROOMS Tate and National Galleries of Scotland | 2004 | CLEARED | 8 | object: 652 × 450 × 140 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>Untitled (Hair)</i> 2004 is a wall-mounted work that consists of a portrait-orientated steel box in which four hanks of long, black human hair are arranged. The shallow, glass-fronted box is displayed upright on the wall and contains a flat steel panel into which have been punched eight holes in two columns – one set of four towards the left side of the panel and the other set of four towards the right. The hanks of hair have been threaded through these holes so that they hang horizontally across the steel panel, appearing roughly parallel to one another in four curved lines.</p>\n<p>From 1989 to 2005 Jannis Kounellis made a series of works produced in editions, described as multiples, in which he incorporated elements drawn from the vocabulary of his earlier practice. <i>Untitled (Hair)</i> is one of these multiples, and is number seventeen in an edition of twenty-five.</p>\n<p>The human hair motif in <i>Untitled (Hair)</i> was among those that Kounellis took from his earlier works, such as <i>Untitled</i> 1969 (Centre Georges Pompidou, Paris), in which a central braid of blonde hair falls from two holes in a steel panel. While long hair could have connotations of beauty and grooming, when separated from the body it also has an uncanny and perhaps abject quality, recalling the way it was used by the surrealists in works such as Mimi Parent’s <i>Masculin-Féminin</i> 1959 (see Mimi Parent and other artists, <i>Boîte alerte </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/parent-boite-alerte-t07621\" title=\"View the details of this artwork\"><span>T07621</span></a>).</p>\n<p>Art historian Jean-Christophe Ammann has written that the disembodiment of the braid in Kounellis’s work ‘implies that it has been cut off, implies pain, punishment, separation; refers to drama, a rite of passage; of consequences based on a burdensome, always present, but intangible, framework of conventions and traditions’ (quoted in Scheps 2010, p.42.) These sinister undertones recall the fate of the inmates of jails or concentration camps whose hair is forcibly removed, as well as the biblical story in which Delilah rids Samson of his strength by cutting off his hair. Such uneasy undercurrents are present in <i>Untitled (Hair)</i>, in which the encased hanks, far from being locks retained as keepsakes, seem like fetishised trophies of the one from whom they were taken.</p>\n<p>\n<b>Further reading</b>\n<br/>Stephen Bann, <i>Jannis Kounellis</i>,<i> </i>London 2003.<br/>Marc Scheps, <i>Jannis Kounellis: XXII Stations on an Odyssey 1969–2010</i>, Munich 2010.</p>\n<p>Ruth Burgon<br/>The University of Edinburgh<br/>January 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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frame: 554 × 457 × 45 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [] | [
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] | <p>Here the phrase ‘The End’, in a black gothic-style typeface, occupies the centre of the picture like it would in the final frame of an old Hollywood movie. The format of the canvas echoes the proportions of a cinema screen. This association is reinforced by the grey background and thin vertical streaks that suggest marks on old film stock. However, long, thin, pale yellow grasses sprout from an invisible ground in front of the words, obscuring them from view. <span>The Final End</span> demonstrates Ruscha’s interest in the histories of visual culture and graphic design. The work and its title may express sadness about the passing away of certain beloved aspects of popular culture.</p><p><em>Gallery label, July 2019</em></p> | false | 1 | 1882 | painting acrylic paint canvas | [
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"content": "<div class=\"text\">\n<p>\n<i>The Final End </i>belongs to a series of works by Ruscha that incorporates the phrase ‘The End’, the earliest of which dates from the early 1980s. The large, horizontally-oriented canvas used for this work evokes the proportions of a cinema screen, an association strengthened by the mottled, grey background and thin vertical streaks that call to mind the grain and patina of old film stock. The phrase ‘The End’, in a black gothic-style typeface, occupies the centre of the picture like it would in the final frame of a traditional Hollywood movie. However, long, thin, pale yellow grasses sprout from an invisible ground directly in front of the two words, partially obscuring them from view. Ruscha incorporated very similar grasses into an earlier painting also in ARTIST ROOMS,<i> The Music from the Balconies </i>1984 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-the-music-from-the-balconies-ar01126\" title=\"View the details of this artwork\"><span>AR01126</span></a>), which depicts a grassland scene with overlaid text lifted from author J.G. Ballard’s 1975 novel <i>High-Rise,</i> in Ruscha’s own font, ‘Boy Scout Utility Modern’. The somewhat tautological title, <i>The Final End</i>, implies that this is the final work in the series, an inference subsequently rendered problematic by later works such as <i>THE END #40</i> 2003 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-the-end-40-ar00064\" title=\"View the details of this artwork\"><span>AR00064</span></a>),<i> </i>produced more than a decade after this one. </p>\n<p>The canvas was prepared by masking off the thin vertical lines before the grey acrylic paint was applied using a spray gun. The letters were delineated with the use of stencils and masking tape while the paint used for the grasses was dripped onto the canvas. A layer of gloss was applied after the all the masking was removed.</p>\n<p>The juxtaposition of text with natural vegetation in <i>The Final End</i> relates to other works by Ruscha, including <i>The Music from the Balconies</i>. Taken on its own, however, the gothic lettering has more in common with an earlier printed work, <i>News, Mews, Pews, Brews, Stews & Dues</i> 1970 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-news-mews-pews-brews-stews-dues-p20295\" title=\"View the details of this artwork\"><span>P20295</span></a>), which uses a similar typeface. Art historian Yve-Alain Bois has suggested that this typeface connotes a ‘vague notion of Englishness’ (Bois 2005, p.63). </p>\n<p>\n<i>The Final End </i>demonstrates Ruscha’s interest in the histories of visual culture and graphic design, and in excavating the linguistic and visual tropes that characterise popular culture. As the artist has explained: ‘I have always operated on a kind of waste-retrieval method … I retrieve and renew things that have been forgotten or wasted.’ (Schwartz 2004, p.251.) The melancholic imagery in this painting – from the mournful title phrase to the sombre colours and gothic lettering – thus could be related to Ruscha’s interest in forgotten material. Even the reeds and rushes call to mind the vegetation that often consumes ancient ruins, adding to a sense of erasure and loss.</p>\n<p>\n<b>Further reading</b>\n<br/>Alexandra Schwartz (ed.), <i>Leave Any Information at the Signal: Writings, Interviews, Bits, Pages</i>, Cambridge, Massachusetts 2004.<br/>Yve-Alain Bois. ‘Thermometers Should Last Forever’, <i>October</i>, vol.111, Winter 2005, pp.60–80.<br/>Mary Richards, <i>Ed Ruscha</i>,<i> </i>Singapore 2008.</p>\n<p>Luke Healey<br/>January 2012</p>\n</div>\n",
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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>Che Fare? </i>consists of a two-handled oblong aluminium tub filled with yellow beeswax, on top of which is a light blue neon sign that reads ‘che fare?’. These words are written in a script modelled on the artist’s own handwriting, which has a continuous flow that makes the two words almost appear as one. A white electrical wire on the left handle of the tub attaches the work to a power supply. There are several versions of this work, another of which is held at the GAM-Galleria Civica d’Arte Moderna e Contemporanea in Turin.</p>\n<p>The aluminium tub is a fish kettle, in which whole fish are usually cooked, and the beeswax is used in its raw form. This use of humble, everyday materials in sculpture is typical of arte povera (‘poor art’), an Italian art movement, defined by the Italian critic Germano Celant in 1967, of which Mario Merz was a member. In contrast to these humble materials, the neon lettering adds a streak of energy. Merz began using neon in 1966, first in relation to painting – which comprised a series of blank canvases pierced with thin neon tubes – before moving onto sculpture. In works such as <i>Che Fare?</i> the neon alters the physical constitution of the work as much as its visual appearance. As the curator Lisa Le Feuvre has noted, as ‘the neon warms the wax, it appears to melt and emit a smell’ (Le Feuvre 2011, p.5).</p>\n<p>Merz began to use the Italian phrase ‘che fare?’ recurrently in his work from 1967 onwards. It can be translated as ‘what to do?’ or ‘what is to be done?’ This question is closely associated with a 1902 speech given by Vladimir Lenin in which he used the words as a revolutionary call to arms. This polemical speech was republished in Italy in 1968 (the year that this sculpture was made) and was read and received enthusiastically, particularly by students and workers who were demonstrating at the time. Lenin appropriated the words ‘what is to be done?’ from an 1863 socialist novel by Nikolay Chernyshevsky. This novel was written from a position in which art is seen as the means of revealing and better understanding, but not transcending, reality. However, Merz has claimed to have had little interest in Lenin’s pamphlet, having only read it in a bookshop, and has remarked instead that he became intrigued by the question ‘what is to be done?’ (or ‘what shall we do?’) after observing children at play constantly asking this question.</p>\n<p>In 1968 Merz made two other sculptures, <i>Solitary Solidarity</i> and <i>Sitin</i>, which, like <i>Che Fare?</i>, consist of a piece of the title text in neon installed within a tub of wax. These titles make direct reference to the political turmoil of 1968, quoting slogans that were graffitied onto Parisian walls (‘solitaire solidaire’) and alluding to protests that were taking place in the form of sit-ins. <i>Che Fare?</i> may also be understood in relation to this political context, asking ‘what is to be done’ at a time when, as Celant has put it, the status quo was ‘the authoritarian power of one generation over another’ (Celant 1989, p.24). Merz has noted that he made these phrases in neon and ‘put them inside a material that would absorb a sentence’ (quoted in Celant 1989, p.106). The curator Nicholas Cullinan has argued that the heat of the neon causes the phrase ‘to become embedded and increasingly trenchant’ in the wax, suggesting a certain intractability or obdurateness in these political slogans (Cullinan 2008, p.23).</p>\n<p>Yet despite these readings, Merz has remarked: ‘For me, <i>‘che fare?’</i> was to be taken literally, not in its direct political thrust ... It was a question I was asking myself.’ (Quoted in Celant 1989, p.106.) Le Feuvre has argued that ‘Merz was driven by asking what an artist can do in the face of a precarious future, informed by an examination of the role of art in day-to-day human experience and motivated by the belief that an artist can show something otherwise impossible to explain’ (Le Feuvre 2011, p.5).</p>\n<p>\n<b>Further reading</b>\n<br/>Germano Celant, <i>Mario Merz</i>, exhibition catalogue, Solomon R. Guggenheim Museum, New York 1989, p.24 (another version reproduced pp.24, 80).<br/>Nicholas Cullinan, ‘From Vietnam to Fiat-Nam: The Politics of Arte Povera’, <i>October</i>, vol.124, Spring 2008, pp.8–30 (another version reproduced p.22).<br/>Lisa Le Feuvre, <i>Mario Merz: What Is to Be Done?</i>, exhibition catalogue, Henry Moore Institute, Leeds 2011, p.5, reproduced pp.6, 25.</p>\n<p>Ruth Burgon<br/>The University of Edinburgh<br/>May 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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] | <p><span>Sekretarstasche</span> is a work by the German artist Joseph Beuys comprised of a brown cardboard envelope with a handwritten manuscript inside. The reverse of the envelope is presented to the viewer with several pages of the manuscript visibly peaking out from its unsealed opening. Other than the handwritten ‘Beuys’ signature along the very top edge and the ‘Sekretarstasche’ title in the middle (both written in scrawling, almost illegible script), the reverse of the envelope has been left blank. The work is also signed, dated and inscribed on its verso, the front of the envelope: ‘Joseph Beuys 1976 fur Heiner.’ This hidden dedication refers to the artist’s personal secretary, Heiner Bastian, to whom the work was originally gifted. Of the manuscript contained within the envelope, only the very top of pages eleven and thirteen are visible, although there are clearly other sheets inserted alongside these. Page eleven of the manuscript displays the English title ‘The Energie [sic] Plan for the Western Man’. Beneath this title there is a further portion of handwritten text, this time in German, just visible on this page before it disappears from view inside the envelope. The artist’s scrawled and slanting handwriting makes deciphering the words a challenge; however, the phrase ‘Vier ist ein Evolutionsdiagramm’ (‘Four is an evolutionary chart’) and the word ‘Menschheit’ (‘humanity’) are legible in the passage of text. The title of the work, <span>Sekretarstasche</span>, appears to be a compound neologism coined by the artist that can be translated from two combined German words (<span>Sekretär </span>and <span>Tasche</span>) as ‘secretary-pocket’ or ‘secretary-case’. This clearly refers to both the intended recipient of the work and the format itself, being a cardboard pocket that contains important documents.</p> | false | 1 | 747 | paper unique envelope ink papers | [] | Sekretarstasche | 1,976 | ARTIST ROOMS Tate and National Galleries of Scotland | 1976 | CLEARED | 5 | support: 408 × 248 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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"content": "<div class=\"text\">\n<p>\n<i>Sekretarstasche</i> is a work by the German artist Joseph Beuys comprised of a brown cardboard envelope with a handwritten manuscript inside. The reverse of the envelope is presented to the viewer with several pages of the manuscript visibly peaking out from its unsealed opening. Other than the handwritten ‘Beuys’ signature along the very top edge and the ‘Sekretarstasche’ title in the middle (both written in scrawling, almost illegible script), the reverse of the envelope has been left blank. The work is also signed, dated and inscribed on its verso, the front of the envelope: ‘Joseph Beuys 1976 fur Heiner.’ This hidden dedication refers to the artist’s personal secretary, Heiner Bastian, to whom the work was originally gifted. Of the manuscript contained within the envelope, only the very top of pages eleven and thirteen are visible, although there are clearly other sheets inserted alongside these. Page eleven of the manuscript displays the English title ‘The Energie [sic] Plan for the Western Man’. Beneath this title there is a further portion of handwritten text, this time in German, just visible on this page before it disappears from view inside the envelope. The artist’s scrawled and slanting handwriting makes deciphering the words a challenge; however, the phrase ‘Vier ist ein Evolutionsdiagramm’ (‘Four is an evolutionary chart’) and the word ‘Menschheit’ (‘humanity’) are legible in the passage of text. The title of the work, <i>Sekretarstasche</i>, appears to be a compound neologism coined by the artist that can be translated from two combined German words (<i>Sekretär </i>and <i>Tasche</i>) as ‘secretary-pocket’ or ‘secretary-case’. This clearly refers to both the intended recipient of the work and the format itself, being a cardboard pocket that contains important documents. </p>\n<p>The phrase ‘Energy Plan for the Western Man’ recurs many times throughout Beuys’s work of the 1970s, which built upon his established practice in sculpture, drawing, installation and performance with a fervent political engagement and commitment to activist pedagogy and lecturing. As the curator Anne Seymour writes of this time:</p>\n<p class=\"cttext\">\n</p><blockquote>Beuys’s Theory of Sculpture developed in the sixties to include Social Sculpture, which extended the definition of art beyond the activity of the artists to include the creative talent of every individual, thus paving the way for a society of the future based on individual creativity. It then grew again, as expressed by the huge blackboard drawings <i>Energy Plan for Western Man</i>, 1972, and related drawings such as <i>The E-Plan for the W-Man</i>, c.1974 to evolve the principles of the Free International University, calling for a regeneration of thought throughout the world which would produce an alternative to both Eastern and Western forms of capitalism, and a free democratic socialism which would operate through the people, instead of a party system based on the force of power and money. The drawings, actions, lectures, sculpture and political activities fill in the flesh and reveal just how complex Beuys’s work had become.<br/>(Seymour 1983, p.23.) </blockquote>\n<p>In this context, the snippets of text visible on the manuscript pages suggest that <i>Sekretarstasche</i> forms part of his wider manifesto, expressed by the artist through the founding of a university as a political act. The mentions of humanity and evolutionary charting chime with Beuys’s ephemeral and idealistic approach to politics, which focused on communication, participation and self-expression. <i>Sekretarstasche</i> almost certainly relates to an event that took place two years prior to its date of 1976: the artist’s first trip to America, in January 1974. This was to prove central to the international communication of Beuys’s socio-political ideas. The curator Joan Rothfuss explains that:</p>\n<p class=\"cttext\">\n</p><blockquote>Beuys didn’t want to bring sculptures or objects for exhibition, instead he planned an exhibition of ideas in the form of a lecture tour. Beuys named the lecture tour ‘Energy Plan for the Western Man’ and saw it as a chance to reinvigorate an enervated Western culture that was on the brink (at least in the United States) of an ‘energy crisis’ … The trip was the beginning of a relationship with American audiences that continues, even after the artist’s death, to be controversial, stimulating, and energetic.<br/>(Rothfuss, <a href=\"http://www.walkerart.org/archive/C/9C4315B360BFDC526167.htm\">http://www.walkerart.org/archive/C/9C4315B360BFDC526167.htm</a>, accessed 24 March 2011.)</blockquote>\n<p>In a 1979 conversation with Heiner Bastian on the subject of the immense body of works on paper that he had produced since the late 1940s, Beuys observed that ‘it’s a basic, concrete fact that these drawings have had a direct effect, a direct influence on my language. Language has always interested me, and when I was younger I was very deeply involved in literature, in a really radically different form’ (quoted in Bastian and Simmen 1979, p.102). Making an explicit connection between language, literature and his drawing practice, Beuys suggests that the act of writing, as seen in <i>Sekretarstasche</i>, is wholly linked to and influenced by his approach to drawing. </p>\n<p>\n<b>Further reading</b>\n<br/>‘If Nothing Says Anything, I Don’t Draw: A Conversation between Joseph Beuys, Heiner Bastian, Jeannot Simmen, Düsseldorf, August 8, 1979’, in Heiner Bastian and Jeannot Simmen (eds.), <i>Joseph Beuys – Zeichnungen, Tekeningen, Drawings</i>, exhibition catalogue, Nationalgalerie, Berlin 1979, pp.91–102, reproduced pl.127.<br/>Anne Seymour, ‘The Drawings of Joseph Beuys’, in <i>Joseph Beuys Drawings</i>, exhibition catalogue, City Art Galleries, Leeds 1983, pp.7–26.<br/>Joan Rothfuss, ‘Energy Plan for the Western Man’, <a href=\"http://www.walkerart.org/archive/C/9C4315B360BFDC526167.htm\">http://www.walkerart.org/archive/C/9C4315B360BFDC526167.htm</a>, accessed 24 March 2011.</p>\n<p>Stephanie Straine<br/>March 2011</p>\n</div>\n",
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] | <p><span>Constellation – Uccello </span>is a print combining aquatint and etching on two separate plates, one of which depicts a star-filled sky while the other is a rendering of the Italian Renaissance artist Paolo Uccello’s famous <span>Perspective Study of a Chalice </span>c.1430–40 (Uffizzi, Florence). The plates are printed on a large portrait-oriented sheet of Fabriano Rosapina paper in an edition of forty-five plus twelve artist’s proofs. It was printed and published by Gemini G.E.L. (Graphic Editions Limited) in Los Angeles, in collaboration with master printmaker Doris Simmelink. The copy held by ARTIST ROOMS is edition number 28/49, noted at the bottom left corner of the print and signed and dated by the artist at the bottom right, in pencil.</p> | false | 1 | 2731 | paper print aquatint etching | [
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"content": "<div class=\"text\">\n<p>\n<i>Constellation – Uccello </i>is a print combining aquatint and etching on two separate plates, one of which depicts a star-filled sky while the other is a rendering of the Italian Renaissance artist Paolo Uccello’s famous <i>Perspective Study of a Chalice </i>c.1430–40 (Uffizzi, Florence). The plates are printed on a large portrait-oriented sheet of Fabriano Rosapina paper in an edition of forty-five plus twelve artist’s proofs. It was printed and published by Gemini G.E.L. (Graphic Editions Limited) in Los Angeles, in collaboration with master printmaker Doris Simmelink. The copy held by ARTIST ROOMS is edition number 28/49, noted at the bottom left corner of the print and signed and dated by the artist at the bottom right, in pencil. </p>\n<p>The two images are small relative to the paper size. The plates are aligned along the bottom axis, with their recessed plate-marks visible, providing clear borders for the images. The composition of the print of the starry night sky is derived from a photograph rather than from direct observation, as is the case with the majority of Vija Celmins’s drawings, prints and paintings. An opaque coverage of black printing ink occupies the majority of the constellation’s rectangular field, leaving the stars as circular orbs of un-inked white paper. It is a very crisp, black and white contrast print, whereas the plate to its right of Uccello’s drawing of a chalice is a tonal greyscale image. The rectilinear armature of the chalice fills almost the whole plate, with the date 1958 visible in the bottom left corner – almost certainly the date of the reproduction from which Celmins drew her version. In this image the lines are crisp although not pure black, and the background is a hazy grey aquatint, with pitted plate marks and spotting. Asked by the curator Samantha Rippner how she copied the Uccello image, Celmins replied: </p>\n<p class=\"cttext\">\n</p><blockquote>I may have traced parts of it from a book. I had been to Florence when I was a student and had loved Uccello. I had never seen the real drawing of course; only in the book did it exist for me … I like to say that I redescribe an existing image, not copy or reproduce. So actually I was drawing the reproduction of the Uccello, with all its reproduction qualities, and the secondary subject was the Uccello. I was interested in flat space and Uccello was interested in representing dimensional space. His drawing is so exquisite – it’s one of my favourites – and the print is kind of a little homage to him. </blockquote>\n<blockquote>(Quoted in Rippner 2002, p.23.)</blockquote>\n<p>Etching is an intaglio print technique, meaning that it is an incised design where the print surface is sunk beneath the areas that are to remain blank. The curator Susan Lambert has described the basic premise of aquatint, another intaglio technique:</p>\n<p class=\"cttext\">\n</p><blockquote>Aquatint is a method of etching in tone. The key to the technique lies in the application of a porous ground, consisting of particles of finely powdered asphaltum or resin. The acid contacts the plate where it is unprotected between the particles, thereby etching pits in the metal which gives a grainy texture when printed. The tone of any part of the printed image is dependent on the depth to which the pits are etched, so the design is built up in stages by stopping out areas once they have been adequately bitten.</blockquote>\n<blockquote>(Lambert 2001, pp.60–1.)</blockquote>\n<p>This grainy texture is immediately apparent in the Uccello print image, while the granular nature of the constellation image is restricted to the radiating points of light in the night sky. Constellation – Uccello is one of several double-image works on paper by Celmins in ARTIST ROOMS, including <i>Jupiter Moon – Constellation </i>1983 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-jupiter-moon-constellation-ar00481\" title=\"View the details of this artwork\"><span>AR00481</span></a>), a print produced at the same time as this one, and <i>Untitled (Desert–Galaxy) </i>1974 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/celmins-untitled-desert-galaxy-ar00162\" title=\"View the details of this artwork\"><span>AR00162</span></a>), an earlier graphite on paper work. Celmins has explained in detail the working processes she used in Constellation – Uccello. Initially referring to the chalice print, she said: </p>\n<p class=\"cttext\">\n</p><blockquote>This is a soft ground, a copper plate that has a soft ground. When you put a paper down and press on it, it leaves a kind of fuzzy line. Because I was really, in a way, mimicking the drawing that Uccello had done … not really the drawing, but the reproduction of the drawing as I found it in the book, this is another instance where two images are kind of hanging onto each other. [Referring to the constellation image:] This is an aquatint with the little lights blocked out and then a little bit of scraping.</blockquote>\n<blockquote>(Quoted in Sollins 2003, p.169.)</blockquote>\n<p>\n<b>Further reading </b>\n<br/>Susan Lambert, <i>Prints: Art and Techniques</i>, London 2001.<br/>Samantha Rippner, <i>The Prints of Vija Celmins</i>, exhibition catalogue, Metropolitan Museum of Art, New York 2002, reproduced p.21. <br/>Susan Sollins, ‘Vija Celmins’, in <i>Art 21: Art in the Twenty-First Century 2</i>, New York 2003, pp.162–73, reproduced p.169. </p>\n<p>Stephanie Straine <br/>June 2010</p>\n</div>\n",
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] | <p><i>Lingotto</i> was made in the year that Merz began exhibiting with other Arte Povera artists, and the bundles of brushwood are characteristic of the group’s use of humble materials. A block of beeswax resting on a steel framework evokes a single gold bar – ‘lingotto’ means ‘ingot’ in Italian. Lingotto is also the district of Merz’s home city of Turin where the Fiat factory was located, a modernist yellow building in which his father worked. These disparate references combine to suggest contrasts between poverty and luxury, rural and urban life.</p><p><em>Gallery label, August 2011</em></p> | false | 1 | 1623 | sculpture brush-wood beeswax steel | [
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] | Lingotto | 1,968 | ARTIST ROOMS Tate and National Galleries of Scotland | 1968 | CLEARED | 8 | unconfirmed: 2620 × 3130 × 1140 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>Lingotto</i> consists of twenty bundles of brushwood placed together in a compact, upright arrangement against the wall of the gallery. At the centre of the bundles is a four-legged steel plinth on top of which sits a block of off-white beeswax. Each brushwood bundle consists of thin birch twigs of roughly equal length, tied together using hessian string, nylon string and wire. Some of the sticks are covered in lichen. The back two legs of the steel structure rest within the brushwood and are thus invisible to the viewer, while the other two legs jut out in front of the bundles at an angle and serve to keep the brushwood in place. The beeswax sits roughly at the same height as the top of the brushwood bundles, just above head height.</p>\n<p>The Italian artist Mario Merz made this work in the year that he began to exhibit with a group of other artists associated with arte povera, an Italian art movement defined by the critic Germano Celant in 1967. The use of humble, everyday materials in <i>Lingotto</i> is typical of arte povera. The thin steel framework was welded together, while the beeswax block was formed by pouring liquid wax into a wooden box layer by layer and removing it from the box once it had solidified. This process is made manifest by the horizontal lines on the outside of the wax block and by the impression left by the wood grain on its outer edges.</p>\n<p>Merz used twigs, individually and in bundles, in many of his artworks and remarked in 1983 that they ‘represent our everyday life’, suggesting woodlands and agricultural landscapes, while also evoking something beyond these earthly connections: ‘they become more astral in the work,’ he said, ‘they turn into sculpture, between the living and the dead, they are neither sculpture nor nonsculpture. They are both living and dead at once, they are exceedingly bizarre.’ (Quoted in Celant 1989, p.54.) Such natural forms and references contrast with the man-made metallic structure, which is somewhat architectural in shape.</p>\n<p>The Italian word ‘lingotto’ can be translated as ‘ingot’ or ‘nugget’, suggesting that the block of beeswax might stand in for a gold bar. Lingotto is also the name of a district in Merz’s home town of Turin, the location of the Lingotto building, which, until 1982, was the headquarters of the Fiat factory where Merz’s father worked. Merz himself described the ‘ingot’ of beeswax as ‘a nest in a tree – something incomprehensible, a piece of material abandoned aloft’ (quoted in Celant 1989, p.107). These various allusions establish points of both connection and contrast between poverty and luxury, rural and urban life.</p>\n<p>Merz created another version of the sculpture, also entitled <i>Lingotto</i> 1969 (reproduced Celant 1989, p.88), in which every element is freestanding: the legs of the metal structure are more splayed and there are fewer twigs arranged in less clearly defined bundles. For critic Giovanni Lista this version of <i>Lingotto</i> recalls ‘scenes from the Bible, at once the altar of Abraham’s sacrifice and Moses’ Burning Bush’ (Lista 2006, p.46).</p>\n<p>\n<b>Further reading</b>\n<br/>Germano Celant, <i>Mario Merz</i>, exhibition catalogue, Solomon R. Guggenheim Museum, New York 1989, p.27, reproduced p.87.<br/>Françoise Ducros, <i>Mario Merz</i>, Paris 1999, pp.39, 120 (other version reproduced p.43).<br/>Giovanni Lista, <i>Arte Povera</i>, Milan 2006, pp.36, 46 (other version reproduced pl.17).</p>\n<p>Ruth Burgon<br/>The University of Edinburgh<br/>June 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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Acrylic paint and silkscreen on 6 canvases | [
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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>Skulls </i>comprises six canvases, which are displayed together in a vertical grid of three rows of two. Each panel reproduces the same photographic image of a human skull resting on a flat surface and seen from a slightly raised point of view. The black and white photograph on which <i>Skulls </i>is based was taken by Ronnie Cutrone, then one of Warhol’s assistants. Cutrone positioned the skull on a trestle table, resting it on a piece of plywood covered in white paper in front of a blank studio wall. Warhol instructed him to take several photographs while changing the position of the light source in order to cast a variety of dramatic shadows. According to Vincent Fremont, who worked with Warhol in various roles from 1969, Warhol was very interested in the shapes of these shadows and was delighted with the image used here (Freymont and Groys 2006, p. 90). The forehead and cheekbone stand out brightly while the eye sockets and other recesses are in deep shadow.</p>\n<p>\n<i>Skulls</i> was made in Warhol’s New York studio, known as the Factory, on unstretched canvas that had been rolled out flat on the studio floor. Although he had a large number of staff working for him, during the period when this work was made Warhol also employed an assistant named Rupert Smith to help specifically with screen-printing. Synthetic polymer paint, a fast drying alternative to oil paint, was used as the background onto which the image of the skull was screen-printed.</p>\n<p>The vivacity of the red, yellow, blue, and purple colours used here is at odds with their macabre subject matter. Some art historians have linked Warhol’s repeated use of the skull as a motif in his work of this period to the artist’s near-fatal shooting in 1968. Others have suggested that Warhol’s interest in the skull as a motif stemmed from his desire to evoke the human condition (Cutrone once commented that to paint a skull ‘is to paint the portrait of everybody in the world’, quoted in Foster 2001, p.79.) However, in his book <i>The Philosophy of Andy Warhol </i>(1975), Warhol wrote about death: ‘I don’t believe in it because you’re not around to know that it’s happened. I can’t say anything about it because I’m not prepared for it.’ (Warhol 1977, p.162.) </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/>Hal Foster, ‘Death in America’, in Annette Michelson (ed.), <i>October Files: Andy Warhol</i>, Cambridge, Massachusetts 2001, pp.69–91.<br/>Vincent Fremont and Boris Groys (ed.), <i>Cast a Cold Eye: The Late Work of Andy Warhol</i>, exhibition catalogue, Gagosian Gallery, New York 2006, pp.90–2.</p>\n<p>Oliver Lurz<br/>February 2012</p>\n</div>\n",
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] | Self-Portrait with Skull | 1,978 | ARTIST ROOMS Tate and National Galleries of Scotland | 1978 | CLEARED | 6 | support: 408 × 332 × 20 mm
frame: 460 × 380 × 65 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
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] | Instruments with Hands | 1,957 | ARTIST ROOMS Tate and National Galleries of Scotland | 1957 | CLEARED | 5 | image: 320 × 382 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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] | <p>Anselm Kiefer’s painting, <span>Palette </span>1981, depicts a traditional artist’s palette suspended between two strands of burning rope. Seven flames are depicted on each strand, spaced at regular intervals along the rope’s length. The palette lies at the very centre of the composition, while the ropes span the width of the canvas. The palette and ropes are painted in black, while each of the fourteen flames are painted in white and overlaid with translucent flashes of red and ochre. The warm tones of the flames contrast with the cool grey, blue and purple tones of the composition’s background. The fluid, gestural brushstrokes of the background imply space but do not refer directly to an identifiable setting.</p> | false | 1 | 1406 | painting oil paint shellac emulsion paper nails canvas | [
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] | Palette | 1,981 | ARTIST ROOMS Tate and National Galleries of Scotland | 1981 | CLEARED | 6 | support: 2905 × 4000 × 35 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<div class=\"text\">\n<p>Anselm Kiefer’s painting, <i>Palette </i>1981, depicts a traditional artist’s palette suspended between two strands of burning rope. Seven flames are depicted on each strand, spaced at regular intervals along the rope’s length. The palette lies at the very centre of the composition, while the ropes span the width of the canvas. The palette and ropes are painted in black, while each of the fourteen flames are painted in white and overlaid with translucent flashes of red and ochre. The warm tones of the flames contrast with the cool grey, blue and purple tones of the composition’s background. The fluid, gestural brushstrokes of the background imply space but do not refer directly to an identifiable setting.</p>\n<p>The picture was made in Germany during Kiefer’s residence at the Hornbach studio in the Oden Forest in 1981, a year after the artist’s first major international exhibition at the Venice Biennale. <i>Palette </i>combines oil paint, shellac and emulsion applied in both liquid and stiff impasto to create a complex visual effect. The raw materiality of the canvas is further emphasised by the application of sand. A paper interleaf technique has also been used, which involves temporarily adhering flat or rolled pieces of paper to small sections of the canvas at various intervals during the painting process. Kiefer applied the rolls horizontally and later peeled them back to reveal a layering effect, further enhancing the surface texture. </p>\n<p>Kiefer began exploring the motif of the artist’s palette in 1974. The closest visual relation to the work within Kiefer’s oeuvre is <i>Palette on a Rope </i>(<i>Pallete am Seil</i>) 1977 (reproduced in Rosenthal 1987, p.66), which presents a direct compositional comparison and employs the same materials. <i>Kyffhäuser </i>1980–1 (reproduced in Rosenthal 1987, pp.84–8) also shares connections with <i>Palette</i>. The work is a twenty-three double-page book of photographic plates. The final double page features a black and white photograph of a barren landscape over which Kiefer has painted a palette suspended by burning ropes.</p>\n<p>Kiefer has said of the palette, a motif that recurs in many of his paintings:</p>\n<p class=\"cttext\">\n</p><blockquote>The use of the palette represents the idea of the artist connecting heaven and earth. He works here but he looks up there. He is always moving between the two realms. The artists are like the shamans, who when they were meditating would sit in a tree in order to suspend themselves between heaven and earth. The palette can transform reality by suggesting new visions. Or you could say that the visionary experience finds its way to the material world through the palette.<br/>(Auping 2005<i>, </i>p.171.)</blockquote>\n<p>However, the suspension of the palette by burning ropes in this painting could be read as signifying the threatened status of this aspiration in post-war German art. That the ropes are alight in seven places may recall the seven flames of the menorah, or seven-branched lampstand, a symbol of Judaism. In <i>Palette </i>Kiefer may thus be referencing the Holocaust and<i> </i>continued difficulties surrounding the creative act in the post-fascist world. </p>\n<p>\n<b>Further reading</b>\n<br/>Mark Rosenthal, <i>Anselm Kiefer, </i>exhibition catalogue, Philadelphia Museum of Art 1987.<br/>Michael Auping, <i>Anselm Kiefer: Heaven and Earth, </i>exhibition catalogue, Museum of Modern Art Fort Worth 2005, reproduced pp.78–9.</p>\n<p>Ava Carleton-Williams<br/>October 2011</p>\n</div>\n",
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"content": "<p>Throughout his career, Kiefer has explored the problematic cultural legacy inherited by artists in post-war Germany. In this composition, the artist symbolises his situation through the depiction of a painter’s palette, hanging tentatively from a burning thread. Painted thinly against an ambiguous blue-grey background, Kiefer’s image evokes the anguish left by the destructive legacy of Nazism, and the sense of shame and loss experienced by his nation after the Second World War. Pointing to the impossibility of artistic creation in this climate, the painting is related to a larger series of works by Kiefer that juxtapose palettes with images of war-torn Germany.</p>\n",
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Polyvinyl acetate paint and tempera on canvas | [
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] | <p><span>Untitled</span> 1960 is a landscape-format painting on canvas. A rough-edged, off-white rectangle sits at the centre of the image bordered by a raw canvas edge with several signs and numbers stencilled on the surface in black paint. The text dominates the top portion of the canvas. It could be read like a mathematical formula as: ‘X x 44 4’, with the first two ‘X’ shapes underlined. However, the signs do not sit on even ground; the two X’s seem unbalanced on their linear platform, with the smaller of the two appearing to tip over. Likewise the numbers of the right-hand side are not evenly spaced, two brush up against one another, while the other is isolated. Two horizontal lines painted below this are stepped, and in the lower right-hand corner a small arrow points to another large ‘X’.</p> | false | 1 | 1438 | painting polyvinyl acetate paint tempera canvas | [
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] | Untitled | 1,960 | ARTIST ROOMS Tate and National Galleries of Scotland | 1960 | CLEARED | 6 | support: 1409 × 2305 × 30 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<div class=\"text\">\n<p>\n<i>Untitled</i> 1960 is a landscape-format painting on canvas. A rough-edged, off-white rectangle sits at the centre of the image bordered by a raw canvas edge with several signs and numbers stencilled on the surface in black paint. The text dominates the top portion of the canvas. It could be read like a mathematical formula as: ‘X x + 44 4’, with the first two ‘X’ shapes underlined. However, the signs do not sit on even ground; the two X’s seem unbalanced on their linear platform, with the smaller of the two appearing to tip over. Likewise the numbers of the right-hand side are not evenly spaced, two brush up against one another, while the other is isolated. Two horizontal lines painted below this are stepped, and in the lower right-hand corner a small arrow points to another large ‘X’.</p>\n<p>This painting is part of a cycle of canvases variously known as <i>Figures and Letters</i> or <i>Alfabeti</i> (alphabet paintings) that Jannis Kounellis painted in Rome between 1959 and 1962 or 1963, shortly after his arrival in Italy from Greece in 1956. Kounellis recalled that the painted signs came from ‘forms which I prepared out of hard cardboard. They were printed, not calligraphic but structural.’ (Quoted in Bann 2003, p.71.) Several other examples from this series are held in public collections, including the Museum of Modern Art, New York.</p>\n<p>The artist made these paintings by stretching canvas, sheeting or burlap over the interior walls in his house. He then painted directly onto the canvas using household paints. Kounellis has observed that when the canvas was removed from the wall its size was determined by the measurements of the architecture: ‘It was like taking off a fresco, since the canvases or sheets had the form and breadth of the walls of the room.’ (Quoted in Bann 2003, p.71.) Inspired by the spontaneous painting techniques of Jackson Pollock, Kounellis aimed to make a performance out of the process of painting. As he painted, he sang rhythmically and wore a costume made out of another completed canvas from the series. The process was recorded in a photograph of the artist at work by Claudio Abate (reproduced in Germano Celant, <i>Jannis Kounellis</i>, exhibition catalogue, Musei di Rimini, Rimini 1983, p.35.) As has been observed by several critics, amongst them Stephen Bann, Kounellis’s performance resembled a Dadaist display, with the artist’s cone-like costume recalling that of Dada artist Hugo Ball at the Cabaret Voltaire in Zurich in 1916 (Bann 2003, p.77).</p>\n<p>Kounellis recalls that when he was painting the series,</p>\n<p class=\"cttext\">\n</p><blockquote>My sights were focussed on Informalism at that point, on [Jean] Fautrier in particular, as a protraction of traditional painting. I still saw the survival of an illusion, of a … centrality in those works: a centrality of the universe, of painting, even of the role of the artist, which doesn’t seem particularly relevant to our era. That’s what these paintings of mine with recognizable and significant characters and letters meant to the viewer, nothing beyond what they see. But not to me. They indicated the names of my favourites at the time.<br/>(Quoted in Codognato and d’Argenzio 2002, p.237.)</blockquote>\n<p>The seemingly cryptic symbols are suggestive of a language, code or mathematical formula but resist any particular meaning or representation. Signs that usually identify size, weight and direction are set free of their moorings, floating across the canvas. Art historian Gloria Moure has observed that these figures ‘were undoubtedly compositional signs, somewhere between image, language and arithmetic, intended to be recited in the midst of unconnected babblings.’ (Moure 2001, p.25.) For Kounellis the symbols ‘were also phonetic and, therefore, profoundly musical’ as well as having a linguistic basis, rooted in the artist’s interest in writers such as Giuseppe Ungaretti (quoted in Codognato and d’Argenzio 2002, p.315). Stephen Bann notes too that the <i>Figures and Letters</i> paintings have a connection with seafaring and the movement of goods, writing that their arrows ‘appear to imply direction and circulation, while the letters mimic the bold marks of identification on transport vessels and their packaged cargo’ (Bann 2003, p.77).</p>\n<p>Kounellis stopped making the <i>Figures and Letters</i> paintings in 1962 or 1963 since, as he said, they ‘began to be considered a style, I stopped making them and over the next three years did six Seascapes.’ (Quoted in Codognato and d’Argenzio 2002, p.173.) Through the 1960s Kounellis expanded his painterly practice first by incorporating found elements (for example <i>Untitled</i> 1960–98, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kounellis-untitled-ar00068\" title=\"View the details of this artwork\"><span>AR00068</span></a>) and later by developing more object-based (see <i>Untitled</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/kounellis-untitled-ar00069\" title=\"View the details of this artwork\"><span>AR00069</span></a>) and installation work (see <i>Untitled</i> 1979, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kounellis-untitled-t03796\" title=\"View the details of this artwork\"><span>T03796</span></a>).</p>\n<p>\n<b>Further reading</b>\n<br/>Gloria Moure, <i>Jannis Kounellis: Works, Writings 1985–2000</i>, Barcelona 2001, pp.25, 50–1.<br/>Mario Codognato and Mirta d’Argenzio (eds.), <i>Echoes in the Darkness: Jannis Kounellis, Writings and Interviews 1966–2002</i>, London 2002, pp.173, 237, 315.<br/>Stephen Bann, <i>Jannis Kounellis, </i>London 2003, pp.68–80.</p>\n<p>Ruth Burgon<br/>The University of Edinburgh<br/>July 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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10 works on paper, mud | [
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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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] | With Dead Head | 1,991 | ARTIST ROOMS Tate and National Galleries of Scotland | 1991 | CLEARED | 4 | image: 572 × 762 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><i>With Dead Head </i>is a black and white photograph of the artist when he was a teenager, posing with the head of a corpse. In 1992 he recounted the making of the image:\n<br/></p>\n<blockquote>It’s me and a dead head. Severed head. In the morgue. Human. I’m sixteen ... If you look at my face, I’m actually going: ‘Quick. Quick. Take the photo.’ It’s worry. I wanted to show my friends, but I couldn’t take all my friends there, to the morgue in Leeds. I’m absolutely terrified. I’m grinning, but I’m expecting the eyes to open and for it to go: ‘<i>Grrrrraaaaagh!</i>’.</blockquote>\n<blockquote>I was doing anatomy drawing. I took some photos when I shouldn’t have done. It was ten years ago. But I just suddenly thought ... to me, the smile and everything seemed to sum up this problem between life and death. It was such a ridiculous way of ... being at the point of trying to come to terms with it, especially being sixteen and everything: this is life and this is death. And I’m trying to work it out.</blockquote>\n<blockquote>(Hirst and Burn, p.34.)</blockquote>\n<p>\n<br/>Hirst selected the photograph and enlarged it in 1991, the year of his first two groundbreaking solo exhibitions in London. At this time, he was setting up the central polemic on which his work is founded – the split or relationship between life and death and the unresolveable mystery of the point where one ends and the other begins. His first solo show, <i>In and Out of Love</i>, set a binary scene that contrasted white paintings from which butterflies hatched and flew around with coloured canvases incorporating dead butterflies hung next to ashtrays full of cigarette butts. Later that year, Hirst reproduced <i>With Dead Head</i> in the catalogue for his exhibition at the Institute of Contemporary Arts entitled <i>Internal Affairs</i>. Here he presented the two opposing strands of his work: spot paintings (see <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hirst-wheel-meet-again-p13034\" title=\"View the details of this artwork\"><span>P13034</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hirst-wheel-within-a-wheel-p13056\" title=\"View the details of this artwork\"><span>P13056</span></a>) and butterfly paintings (see <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hirst-monument-to-the-living-and-the-dead-ar00045\" title=\"View the details of this artwork\"><span>AR00045</span></a>) offering a light-hearted celebration of life; and sculptural vitrines, such as <i>The Acquired Inability to Escape </i>(<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hirst-the-acquired-inability-to-escape-t12748\" title=\"View the details of this artwork\"><span>T12748</span></a>), evoking the darker mood that was to lead to such works with animal carcasses as <i>Mother and Child Divided </i>1993 (<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hirst-mother-and-child-divided-t12751\" title=\"View the details of this artwork\"><span>T12751</span></a>) and <i>Away from the Flock </i>1994 (<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hirst-away-from-the-flock-ar00499\" title=\"View the details of this artwork\"><span>AR00499</span></a>) that inevitably refer to death and decay. A third central theme in Hirst’s oeuvre – fundamental to the making of <i>With Dead Head</i> – featured in a solo exhibition of the same year in Paris – <i>When Logics Die </i>at Emmanuel Perrotin Gallery. Here gruesome photographs of suicide victims were juxtaposed with medical equipment on utilitarian tables, introducing the artist’s fascination with medical science. During the same period (1989–92), he presented medicine cabinets stacked with pharmaceuticals as sculptures, culminating in the full room-sized installation, <i>Pharmacy</i> 1992 (<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hirst-pharmacy-t07187\" title=\"View the details of this artwork\"><span>T07187</span></a>). \n<br/>\n<br/><i>The Impossibility of Death in the Mind of Somebody Living</i> – the title of one of Hirst’s most famous sculptural vitrines (the eight-foot tiger shark in a tank) also created in 1991 – remains the driving preoccupation in Hirst’s work. He has explained:\n<br/></p>\n<blockquote>When I was really young, I wanted to know about death and I went to the morgue and I got these bodies and I felt sick and I thought I was going to die and it was all awful. And I went back and I went back and I drew them. And the point where death starts and life stops, for me, in my mind, before I saw them, was there. And then when I’d seen them and I’d dealt with them for a while, it was over there again. It’s like, you know, I was holding them. And they were just dead bodies. Death was moved a bit further away ... the idea about death, you know when you’re actually confronted with that kind of thing – all these kinds of images – it just gets relocated somewhere else ... </blockquote>\n<blockquote>In our lives, we’re separated from corpses, so you think, Oh, that’s where death is. And there’s a sort of respect. And then when you get to the mortuary and you look at them ... the people aren’t there. There’s just these <i>objects</i>, which [don’t] look ... like real people. And everyone’s putting their hands in each other’s pockets and messing about, going <i>wheeeeeeyy! </i>with the head ... it just <i>isn’t</i>\nthere. It just removes it further.</blockquote>\n<blockquote>(Hirst and Burn, pp.36 and 52.)</blockquote>\n<p>\n<br/><i>With Dead Head </i>derives some of its strength as an image from formal oppositions in its composition: the young Hirst’s head of dark hair contrasts with the bald pate of the old man; his mouth is open in a wide smile, whereas the corpse’s mouth is firmly clamped shut; Hirst’s body extends invisibly into dark fabric in the background of the photograph, while a crumpled white cloth (suggesting a shroud) in the foreground stands in for the dead man’s absent body. The teenager Hirst’s cheeky, if terrified, grin as he lowers his face to the level of the mysteriously severed head, is partly echoed in the hint of a smile in the unknown man’s expression, suggesting complicit humour in the fear and horror evoked by the contemplation of the physical reality of death. \n<br/>\n<br/>In 1991 Hirst enlarged the photograph taken of him by an anonymous friend and released it in an edition of fifteen. ARTIST ROOM’s copy is the sixth in the edition. In 1999 he created a further edition of 1000 prints in a smaller size.\n<br/>\n<br/><b>Further reading:</b>\n<br/><i>Damien Hirst</i>, exhibition catalogue, Institute of Contemporary Arts, London 1991, reproduced p.2.\n<br/>Damien Hirst and Gordon Burn, <i>On the Way to Work</i>, London 2001, p.34, reproduced p.34.\n<br/>Eduardo Cicelyn, Mario Codognato and Mirta D’Argenzio, <i>Damien Hirst</i>, exhibition catalogue, Museo Archeologico Nazionale, Naples 2004, reproduced p.51 (detail).\n<br/>\n<br/>Elizabeth Manchester\n<br/>October 2009\n<br/>\n<br/></p>\n",
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Wood, glass, 2 cardboard boxes and fat | [
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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 | AR00618 | {
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] | Fat Corner (Process) | 1,968 | ARTIST ROOMS Tate and National Galleries of Scotland | 1968 | CLEARED | 8 | displayed: 1835 × 1680 × 840 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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Wood, glass, felt, oil paint and lead | [
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object (vitrine): 1840 × 1680 × 840 mm
object (felt object): 630 × 700 × 220 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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Chalk on blackboard | [
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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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Record sleeve, record, jaw bone and wood | [
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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 | AR00628 | {
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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": "<p>Many of Beuys's 'actions' and sculptures used sound in some way. Sound is included in this relief through the use of a record. On top of the record is a hare's jawbone, the hare being an animal which recurs frequently in the artist's work. It is associated with the earth and with birth, but the inclusion of its bones here is also reminiscent of a relic of a saint. The title of this relief hints at the artist's interest in Celtic countries – he visited Scotland and Ireland several times during his life. It is stamped with the circular 'Hauptstrom' stamp Beuys used for works he felt summed up his beliefs particularly well.</p>\n",
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Graphite, watercolour and chloride 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 | AR00629 | {
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} | 7005980 1003123 7003677 7000084 7004443 | Joseph Beuys | 1,946 | [
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] | <p><span>Sun and Pylon</span> is a small work on ordinary drawing paper, approximately A4 in size. It is based on a pencil sketch, with some graphite shading for the dark areas of the underlying landscape, overlaid with blue watercolour and yellow-brown iron chloride. Iron chloride is an industrial chemical used for clarifying water and as an etchant. When mixed with water it gives off heat in a chemical reaction and the resulting substance is the yellowish brown paint seen here. Despite the almost monochromatic use of colour, Beuys uses the shades of yellow and brown, and energetic brushwork, to give an impression of an explosion or a flash of sunlight.</p> | false | 1 | 747 | paper unique graphite watercolour chloride | [
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] | Sun and Pylon | 1,946 | ARTIST ROOMS Tate and National Galleries of Scotland | 1946 | CLEARED | 5 | support: 208 × 297 mm
frame: 675 × 540 × 27 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<div class=\"text\">\n<p>\n<i>Sun and Pylon</i> is a small work on ordinary drawing paper, approximately A4 in size. It is based on a pencil sketch, with some graphite shading for the dark areas of the underlying landscape, overlaid with blue watercolour and yellow-brown iron chloride. Iron chloride is an industrial chemical used for clarifying water and as an etchant. When mixed with water it gives off heat in a chemical reaction and the resulting substance is the yellowish brown paint seen here. Despite the almost monochromatic use of colour, Beuys uses the shades of yellow and brown, and energetic brushwork, to give an impression of an explosion or a flash of sunlight.</p>\n<p>1946 was the year Beuys enrolled at the Düsseldorf Art Academy, not far from his hometown of Kleve, in North Rhine Westphalia, in the British zone of occupation following the Second World War. Beuys had decided to become an artist after returning from military service, during which he served as a dive-bomber navigator and from August 1944 as a foot soldier. Only a year before making this work Beuys had been serving on the Western front, where he would have seen close hand-to-hand fighting in the Battle of the Reichswald, not far from Kleve. The flash of sunlight in this picture is perhaps reminiscent of an exploding shell, which Beuys would have witnessed. Kleve had been largely destroyed by Allied bombing on 7 October 1944, and pummelled again on 7 February 1945 as Allied troops crossed the Rhine to occupy Western Germany. 1946 was consequently a time of great shortages, which provides one reason why Beuys used commonly available materials for his artworks.</p>\n<p>Beuys was interested in the inherent properties of the materials he used, in nature and in the idea of energy. Iron chloride has distinct visual properties in its raw crystalline state, which probably appealed to Beuys’s interest in science as well as art: it appears dark green in reflected light and reddish purple in transmitted light. In <i>Sun and Pylon</i> Beuys juxtaposes the ultimate source of energy in our solar system, the sun, with an icon of electricity – man-made ‘energy’. To represent the sun he uses a chemical that itself gives off heat when mixed with water, and a form resembling the explosion of an artillery shell. The electricity pylon can perhaps be regarded as the human presence in the picture, drawing the viewer into the image as a protagonist while exposing him or her to the powerful energy of the sun or exploding shell. The juxtaposition and different readings bring a visual tension into the composition. This is reinforced by the German <i>Hochspannungsmast</i> of the title, which can be translated literally as ‘high tension mast’.</p>\n<p>By 1946 the public was becoming aware of the first US tests of atomic bombs on Bikini Atoll; bombs which were detonated in the atmosphere at the top of a pylon. <i>Sun and Pylon </i>is perhaps Beuys’s vision of an atomic future in which the sanitisation of the explosion through its representation as a ‘sun’ makes it all the more poignant. Beuys’s simplified, almost comic-book representation of an explosive flash predates by two decades Roy Lichtenstein’s <i>Explosion</i> 1965–6 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lichtenstein-explosion-p01796\" title=\"View the details of this artwork\"><span>P01796</span></a>).</p>\n<p>In <i>Sun and Pylon</i> Beuys takes traditional German landscape painting in a new direction, transforming the practice of pencil drawing and watercolour. The small patch of blue is a nod towards the watercolour landscape tradition, but Beuys substitutes iron chloride for ordinary watercolour paint to make an expressionistic portrayal of the sunlight. The placement of mankind in the face of the awesome power of nature is reminiscent of the Romantic tradition in German art, while the energetic portrayal of the sun recalls the German expressionist tradition of the early twentieth century. This work is thus an early example of Beuys’s artistic investigation into what it is to be German after the Second World War.</p>\n<p>\n<b>Further reading</b>\n<br/>Anne Seymour, <i>Joseph Beuys: Drawings</i>, exhibition catalogue, Victoria and Albert Museum, London 1983.<br/>Heiner Bastian (ed.), <i>Joseph Beuys: Dibujos = Drawings</i>, exhibition catalogue, Sala des Exposiciones, Madrid 1985.<br/>Ann Temkin and Bernice Rose (eds.), <i>Thinking is Form: The Drawings of Joseph Beuys</i>, exhibition catalogue, Philadelphia Museum of Art and Museum of Modern Art, New York 1993.</p>\n<p>Andrew W. Symons<br/>University of Edinburgh<br/>December 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": "<p>At the heart of much of Beuys's artistic output lies an interest in sources of heat and energy. This is demonstrated in his sculptural work and installations through the use of fat and felt as materials. In this painting, the artist depicts the sun and a pylon, two sources of both heat and power. Beuys often incorporated unusual materials alongside watercolour in his paintings. Here he has used iron chloride, a chemical which also represents warmth as it gives off heat during the chemical process of hydrolysis, a reaction caused by water.</p>\n",
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Leaf 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 | AR00630 | {
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] | <p><span>Acer Platanoides </span>consists of a single Norway Maple leaf, in autumnal colour, stuck onto a piece of drawing paper with the back of the leaf (the veins) showing. Beuys signed it at the bottom ‘J Beuys 45’, but there is no further artistic intervention. The title, <span>Acer Platanoides</span>, refers to the Latin botanical name for the Norway Maple, which is indigenous to northern Europe. It was commonplace in Beuys’s hometown of Kleve in the lower Rhine region of North Rhine Westphalia, Germany, close to the Dutch border.</p> | false | 1 | 747 | paper unique leaf | [
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] | Acer platanoides | 1,945 | ARTIST ROOMS Tate and National Galleries of Scotland | 1945 | CLEARED | 5 | support: 474 × 317 mm
frame: 680 × 525 × 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>\n<i>Acer Platanoides </i>consists of a single Norway Maple leaf, in autumnal colour, stuck onto a piece of drawing paper with the back of the leaf (the veins) showing. Beuys signed it at the bottom ‘J Beuys 45’, but there is no further artistic intervention. The title, <i>Acer Platanoides</i>, refers to the Latin botanical name for the Norway Maple, which is indigenous to northern Europe. It was commonplace in Beuys’s hometown of Kleve in the lower Rhine region of North Rhine Westphalia, Germany, close to the Dutch border.</p>\n<p>In autumn 1945, when this work was made, the twenty-four year old Beuys had just returned home after five years at war, first as a dive bomber navigator and from August 1944 as a foot soldier. Earlier that year he had served on the Western front, which had seen close hand-to-hand fighting in the Battle of the Reichswald, a forest not far from Kleve. In the battle for the Rhineland losses were high on both sides, but Beuys survived with only a minor leg wound (in addition to the head injury he had sustained in a plane crash in March 1944). Beuys’s unit surrendered to the British on 25 April 1945 at Edewecht, near Bremen, and Beuys was held captive as a prisoner of war until 5 August 1945, mostly in the former Sandbostel concentration camp, also near Bremen. After his release he returned to his parents’ house in war-torn Kleve, a town which had held a strategic position on the Western front during the war. It had been largely destroyed by Allied bombing on 7 October 1944, and pummelled again on 7 February 1945 as Allied troops crossed the Rhine to occupy Western Germany. By August 1945 only 3,000 of the original 22,000 inhabitants of the town remained.<i> </i>It was in these conditions that Beuys decided to become an artist.</p>\n<p>\n<i>Acer Platanoides</i> is the oldest work by Beuys in the ARTIST ROOMS collection and one of the earliest works he ever made. As a child, Beuys had not shown much interest in art, and it was only in 1945 that he considered art his vocation, despite the lack of job opportunities for artists in post-war Germany. On 15 April 1946 he enrolled at the Düsseldorf Art Academy, one of only two art academies in Germany still open after the war. He was to become a master student and eventually professor at the same Academy. <i>Acer Platanoides</i> was therefore made at a turning point in Beuys’s life. As he later recalled:</p>\n<p class=\"cttext\">\n</p><blockquote>When the war ended in 1945, I came out of the prison camp; then I studied natural science, mathematics, physics and biology; and looking at the behaviour in the rude world of science I decided to change my practice and, more theoretically, I went to art.<br/>(Quoted in Harriet Cooke, ‘Joseph Beuys: The German Artist Who has been Showing at the Municipal Gallery in Dublin’, <i>Irish Times</i>, 25 October 1974, p.10.)</blockquote>\n<p>The work can be interpreted in many ways. The leaf mounted on paper resembles a scientific specimen in a museum. As a scientist-turned-artist Beuys was keenly interested in ecology and was to become a co-founder of the German Green Party; this leaf may be prescient of that future. Sticking a leaf to a piece of white paper and declaring it ‘art’ also recalls Marcel Duchamp’s idea of the ‘readymade’, exemplified most famously in his <i>Fountain </i>1917, replica 1964<i> </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/duchamp-fountain-t07573\" title=\"View the details of this artwork\"><span>T07573</span></a>). It could also be taken as a gesture of reverence to nature only months after Beuys had been engaged in vicious hand-to-hand fighting in the nearby Reichswald forest; a poignant gesture by a man re-engaging with the simplicity of nature after the horrors of the war years.</p>\n<p>Beuys maintained his interest in leaf collages throughout his lifetime, producing many examples. Such works in the ARTIST ROOMS collection include <i>Untitled</i> 1955 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-untitled-ar00696\" title=\"View the details of this artwork\"><span>AR00696</span></a>), which has a single lime leaf mounted next to a similar-sized shape coated in lime, thus contrasting the organic with the mineral; and <i>Untitled</i> 1972 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beuys-untitled-ar00682\" title=\"View the details of this artwork\"><span>AR00682</span></a>), which has three pressed leaves of different types on one sheet, each annotated with its Latin name (for many more examples see Bastian 1985). As late as 1985 Beuys produced a series of ten pressed plant and pencil drawings entitled <i>Cotyledon Umbilicus Veneris</i> (see Temkin and Rose 1993, pp.254–5, plate 172).</p>\n<p>\n<b>Further reading</b>\n<br/>Anne Seymour, <i>Joseph Beuys: Drawings</i>, exhibition catalogue, Victoria and Albert Museum, London 1983.<br/>Heiner Bastian (ed.), <i>Joseph Beuys: Dibujos = Drawings</i>, exhibition catalogue, Sala des Exposiciones, Madrid 1985.<br/>Ann Temkin and Bernice Rose (eds.), <i>Thinking is Form: The Drawings of Joseph Beuys</i>, exhibition catalogue, Philadelphia Museum of Art and Museum of Modern Art, New York 1993.</p>\n<p>Andrew W. Symons<br/>University of Edinburgh<br/>December 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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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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frame: 675 × 541 × 27 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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frame: 675 × 541 × 29 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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frame: 680 × 525 × 48 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the <a href="/search?gid=999999967" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">National Heritage Memorial Fund</a> and the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 2008 | [
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"content": "<p>The area of blood-red paint at the centre of this collage is reminiscent of the heart, man's power source, anticipating the artist's later work with sources of energy. Although the red is tempera paint, Beuys did paint with hare's blood in some drawings. On the reverse of the paper, faintly seen from this side, is an architectural drawing of the Catholic Church in Lübeck, a northern German city. The elk or stag appears in many of Beuys's drawings and, according to myth, represented a spirit guide.</p>\n",
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||||||||||||||
Watercolour 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 | AR00635 | {
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] | false | 1 | 747 | paper unique watercolour | [] | From the Life of the Bees | 1,954 | ARTIST ROOMS Tate and National Galleries of Scotland | 1954 | CLEARED | 5 | support: 502 × 685 mm
frame: 732 × 922 × 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>Bees were among the animals in which Beuys was most interested and they appear in his work through his life. While at art school he produced a series of drawings called 'Queen Bees', but his interest may have begun after reading the philosopher Rudolf Steiner's 1923 lecture on bees in which Steiner compared the functioning of a beehive to human society. Beuys viewed bees as a symbol of socialism due to the way in which they live and work together; he was also fascinated by the production of honey. The scientific apparatus featured in this drawing reappears in other works by Beuys of the mid-to late 1950s.</p>\n",
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