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Stone | [
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Tate and National Galleries of Scotland. Presented by the artist 2010 | AR01136 | {
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} | 7000874 7011384 7002681 7001395 1000074 | Jannis Kounellis | 1,969 | [] | <p>In one of his most physically powerful works, Kounellis blocks a doorway in the exhibition space, thereby restricting the possible access and exit points from the gallery. Like many of his contemporaries, Kounellis turned to an ancient technique in order to address current concerns. Here the traditional method is dry stone building, used most commonly to divide farmland, but also alluding to the blocked doorways of abandoned houses in the artist’s native Greece. The work draws attention to the architecture of the museum and creates a somewhat threatening environment for the spectator.</p><p><em>Gallery label, April 2009</em></p> | false | 1 | 1438 | installation stone | [
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] | Untitled | 1,969 | ARTIST ROOMS Tate and National Galleries of Scotland | 1969 | CLEARED | 3 | Overall display dimensions variable | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Tate and National Galleries of Scotland. Presented by the artist 2010 | [
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"content": "<div class=\"text\">\n<p>\n<i>Untitled</i> 1969 is a flat, dry-stone wall built into a doorway in the gallery space. The stone is sourced locally from the place where the work is shown, requiring it to be remade in every new venue in which it is exhibited. According to the artist’s instructions, the stones should be arranged randomly, following no specific configuration, except that the wall should slope slightly so that the bottom protrudes a little way out from the doorway within which it is placed. The shape and size of the doorway should be in keeping with the architecture of the building or gallery in which the work is installed. This particular work is especially significant as it was one of the first wall pieces created by Kounellis, who continued to make interventions of this kind up until the 1980s. <i>Untitled</i> 1969 was exhibited for the first time at the 8th Biennale of Contemporary Art in San Benedetto de Tronto, Italy, where it became known as the ‘door walled with stones’ (Bann 2003, p.83).<i> </i>It has been shown numerous times since then, including in the exhibition <i>Zero to Infinity: Arte Povera 1962–1972</i> at Tate Modern, London and Walker Art Center, Minneapolis in 2001. When on display at Tate, it is made using British stone from the Cotswolds.</p>\n<p>\n<i>Untitled</i> 1969 is a work that resonates with many of Kounellis’s key themes and concerns (as well as those of the Arte Povera group in Italy in the 1960s and early 1970s, with which Kounellis was associated). His work often incorporates the use of both natural and industrial materials such as iron, cotton, coal, wood, stones, earth, sacks and occasionally live animals. Each of these materials is chosen for its historical significance and association with the place where the work is displayed, and <i>Untitled</i> 1969 follows these same principles. Kounellis’s works are often site-specific, responding directly to the architecture surrounding them. The practice of using impenetrable materials, such as large stones, to block doorways, windows and other openings has been a recurring preoccupation of the artist’s since the late 1960s. Sometimes referred to as ‘blockages’, these works close off space and deny access to something hidden. The tension created by the placement of natural material of such weight and mass as stone, usually only found in exterior landscapes, within the white walls of a gallery, makes a visitor’s interaction with the space all the more dramatic, an effect Kounellis often tried to create through his works.</p>\n<p>Despite the artist refuting associations between his blocked doorways and his Greek heritage, some art historians have suggested that the randomly placed masonry stone evoke the blocked doors and windows of the houses left by Greek people who fled their villages during the country’s civil war in the late 1940s. Works such as <i>Untitled</i> have therefore been read as exploring notions of war and immigration. The art historian Thomas McEvilley has written about the way in which Kounellis’s choice of materials and their placement in the gallery evoke a human presence:</p>\n<p class=\"cttext\">\n</p><blockquote>In Kounellis’s iconography these works relate to his characteristic theme of history and measure. The measure ... is always the measure of a person; it is an object or framework made to human dimensions and proportions. Like the bed, the doorway is such a measure, as is the window. The building stone is also a kind of measure ... it is part of a wall that men build to their own measure; and it is sized for the grasp of the human hand ... Modern windows and doorways are measures from one age and the ancient stones placed one on top of the other to make a wall are measures from another, more ancient one. Compressed together they constitute yet another image of a complex of interrelated ideas, including the changing of the measure with the flow of history, the measure appropriate to each age, the loss of measure, and the need to regain, or rather reshape, a new one. Like so much of Kounellis’s work, they embody the passage of human history, of the changing of the human self and of its products.</blockquote>\n<blockquote>(Thomas McEvilley, ‘Mute Prophecies: The Art of Jannis Kounellis’, in <i>Jannis Kounellis</i> 1986, p.87.)</blockquote>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Jannis Kounellis</i>, exhibition catalogue, Museum of Contemporary Art, Chicago 1986, reproduced pl.63.<br/>Richard Flood and Frances Morris, <i>Zero to Infinity: Arte Povera 1962–1972, </i>exhibition catalogue, Tate Modern, London and Walker Art Center, Minneapolis 2001, reproduced p.244.<br/>Stephen Bann, <i>Jannis Kounellis,</i> London 2003, reproduced p.83.</p>\n<p>Kyla McDonald<br/>May 2010</p>\n</div>\n",
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Photograph, gelatin silver print on paper | [
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Tate and National Galleries of Scotland. Presented by the Robert Mapplethorpe Foundation 2010 | AR01137 | {
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] | David Hockney | 1,976 | ARTIST ROOMS Tate and National Galleries of Scotland | 1976, printed 2003 | CLEARED | 4 | frame: 610 × 585 × 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>
Tate and National Galleries of Scotland. Presented by the Robert Mapplethorpe Foundation 2010 | [] | [] | null | false | false | artwork |
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Photograph, gelatin silver print on paper | [
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Tate and National Galleries of Scotland. Presented by the Robert Mapplethorpe Foundation 2010 | AR01138 | {
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] | Patrice | 1,977 | ARTIST ROOMS Tate and National Galleries of Scotland | 1977, printed 1992 | CLEARED | 4 | frame: 611 × 587 × 38 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Tate and National Galleries of Scotland. Presented by the Robert Mapplethorpe Foundation 2010 | [] | [] | null | false | false | artwork |
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Photograph, gelatin silver print on paper | [
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Tate and National Galleries of Scotland. Presented by the Robert Mapplethorpe Foundation 2010 | AR01139 | {
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Tate and National Galleries of Scotland. Presented by the Robert Mapplethorpe Foundation 2010 | [] | [] | null | false | false | artwork |
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Photograph, gelatin silver print on paper | [
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Tate and National Galleries of Scotland. Presented by the Robert Mapplethorpe Foundation 2010 | AR01140 | {
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] | 1,988 | <a href="https://www.tate.org.uk/art/artists/robert-mapplethorpe-11413" aria-label="More by Robert Mapplethorpe" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Robert Mapplethorpe</a> | Orchid | 2,011 | [] | ARTIST ROOMS
Tate and National Galleries of Scotland. Presented by the Robert Mapplethorpe Foundation 2010 | AR01145 | {
"id": 4,
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} | 7007567 1002551 7007568 7012149 | Robert Mapplethorpe | 1,988 | [] | <p>This black and white photograph shows an orchid set above a white shape in front of a grey background. The flower is seen from above, revealing the symmetry of its interior organs and its petals. The upper appendage of the orchid – known as the labellum – is predominantly white with a dark speckled pattern. The two sepals either side of the labellum, the two petals below them and the lowermost dorsal sepal are all relatively dark in tone. Each one tapers to a point and they are outlined by traces of white. The rightwards-pointing sepal and petal are highlighted such that their veins are visible. The white square shape underlaps the lower half of the orchid, and its unmodulated bright tone and straight lines contrast with the flower’s organic curves and dark details.</p> | false | 1 | 11413 | paper print photograph gelatin silver | [
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] | Orchid | 1,988 | ARTIST ROOMS Tate and National Galleries of Scotland | 1988 | CLEARED | 4 | unconfirmed: 610 × 508 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Tate and National Galleries of Scotland. Presented by the Robert Mapplethorpe Foundation 2010 | [
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"content": "<div class=\"text\">\n<p>This black and white photograph shows an orchid set above a white shape in front of a grey background. The flower is seen from above, revealing the symmetry of its interior organs and its petals. The upper appendage of the orchid – known as the labellum – is predominantly white with a dark speckled pattern. The two sepals either side of the labellum, the two petals below them and the lowermost dorsal sepal are all relatively dark in tone. Each one tapers to a point and they are outlined by traces of white. The rightwards-pointing sepal and petal are highlighted such that their veins are visible. The white square shape underlaps the lower half of the orchid, and its unmodulated bright tone and straight lines contrast with the flower’s organic curves and dark details.</p>\n<p>\n<i>Orchid </i>was made in 1987 by Robert Mapplethorpe, who originally trained as a painter before taking an interest in photography. As he stated in 1988: ‘When I started out, I didn’t know anything about photography, only the history of painting’ (quoted in Celant 1992, p.17). His interest had been sparked, in part, by John McKendry, the curator of prints and photographs at the Metropolitan Museum of Art in New York, who gave Mapplethorpe a Polaroid camera. From 1972 onwards, photography became his primary medium.</p>\n<p>Mapplethorpe’s first photographs were of himself and he began photographing flowers in 1978 almost by chance: ‘I got some flowers as a present from a collector ... So I thought I’d photograph the flowers’, he said in 1979 (quoted in Celant 1992, p.41). Mapplethorpe regarded these early flower photographs as a way of developing his skill in the medium without having to deal with people – in contrast to the limited time he would have to photograph a human subject, he could take as long as liked setting up and photographing a flower. As he said in 1988: ‘I started with flowers because it was a way to learn photography without putting people through a lot of problems’ (quoted in Celant 1992, p.41).</p>\n<p>Mapplethorpe’s flower photographs embody a certain vivacity and eroticism, even if they are not as overtly sexual as his photographs of human subjects, such as <i>Derrick Cross </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/mapplethorpe-derrick-cross-ar00194\" title=\"View the details of this artwork\"><span>AR00194</span></a>) and <i>Lisa Lyon </i>1989<i> </i>(Tate <span>AL0082</span>). The art historian Germano Celant has argued that in the flower photographs there is ‘a heightening caused by the impact of the – nearly always natural – light, which greets the gestures of <i>rising </i>and erection’ (Celant 1992, p.42). Mapplethorpe himself identified a subversive undercurrent in his flower photographs, stating in 1982 that ‘My approach to photographing a flower is not much different than photographing a cock. Basically it’s the same thing’ (quoted in Celant 1992, p.43).</p>\n<p>Yet Mapplethorpe’s flower photographs might be seen to function in a reverse manner to his images of the human body. For instance, in works such as <i>Mark Stevens (Mr. 10 1/2) </i>1976 (J. Paul Getty Museum and Los Angeles County Museum of Art, Los Angeles), Mapplethorpe lights and frames the genitals to give them an almost sculptural quality, showing them as objects for formal consideration rather than sexual interest. In doing so he somewhat neutralises their erotic potential. Conversely, in his flower photographs, Mapplethorpe takes innocuous subjects and reveals within them a certain sexuality. As the art historian Richard Howard argues, Mapplethorpe aims ‘to restore potency to flowers, to restore aesthetic dignity to the genitals’ (quoted in Richard Marshall, <i>Robert Mapplethorpe</i>,<i> </i>London 1988, p.153).</p>\n<p>\n<b>Further reading</b>\n<br/>Germano Celant, <i>Mapplethorpe</i>,<i> </i>New York 1992.<br/>Herbert Muschamp, <i>Robert Mapplethorpe: The Complete Flowers</i>, Düsseldorf 2006, reproduced pl.179.<br/>Sylvia Wolf,<i> Polaroids: Mapplethorpe</i>, London 2008.</p>\n<p>Thomas Flanagan<br/>The University of Edinburgh<br/>June 2015</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS.</i>\n</p>\n</div>\n",
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Tate and National Galleries of Scotland. Presented by the Robert Mapplethorpe Foundation 2010 | AR01146 | {
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Tate and National Galleries of Scotland. Presented by the Robert Mapplethorpe Foundation 2010 | [] | [] | null | false | false | artwork |
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Presented by the artist jointly to National Galleries of Scotland and Tate and acquired with assistance of the ARTIST ROOMS Fund, supported by the Henry Moore Foundation and Tate Members 2011 | AR01148 | {
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] | <p><span>Work No.944</span> comprises twenty-one individually framed sheets of A4 paper displayed along side each other in a long row. Each sheet of paper has been entirely covered in a single colour using one of a set of twenty-one felt-tipped pens of the sort that children are often given in clear plastic wallets. Creed has said: ‘I find that it’s difficult to choose, to decide that one thing’s more important than the other ... So what I try and do is to choose without having to make decisions.’ (Quoted in Louisa Buck, ‘Martin Creed’, <span>Artforum</span>, vol.38, no.6, February 2000, p.111.) This involves keeping a range of options available, like having the lights turn on then off in his piece <span>Work No.227: The lights going on and off </span>2000 (Tate T13868). In much the same way, by using every felt-tip pen in a set of twenty-one, Creed is saved from having to make a decision about which colour to privilege.</p> | false | 1 | 2760 | paper unique 21 works ink | [
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] | Work No. 944 | 2,008 | ARTIST ROOMS Tate and National Galleries of Scotland | 2008 | CLEARED | 5 | displayed: 372 × 6514 × 25 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>
Presented by the artist jointly to National Galleries of Scotland and Tate and acquired with assistance of the <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Fund, supported by the Henry Moore Foundation and <a href="/search?gid=999999973" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Tate Members</a> 2011 | [
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"content": "<div class=\"text\">\n<p>\n<i>Work No.944</i> comprises twenty-one individually framed sheets of A4 paper displayed along side each other in a long row. Each sheet of paper has been entirely covered in a single colour using one of a set of twenty-one felt-tipped pens of the sort that children are often given in clear plastic wallets. Creed has said: ‘I find that it’s difficult to choose, to decide that one thing’s more important than the other ... So what I try and do is to choose without having to make decisions.’ (Quoted in Louisa Buck, ‘Martin Creed’, <i>Artforum</i>, vol.38, no.6, February 2000, p.111.) This involves keeping a range of options available, like having the lights turn on then off in his piece <i>Work No.227: The lights going on and off </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/creed-work-no-227-the-lights-going-on-and-off-t13868\" title=\"View the details of this artwork\"><span>T13868</span></a>). In much the same way, by using every felt-tip pen in a set of twenty-one, Creed is saved from having to make a decision about which colour to privilege.</p>\n<p>By identifying his works primarily through a numbering system, Creed accords them equal status, regardless of size or material. His idiosyncratic approach is born out of this refusal to create hierarchies and out of a playful concern with the conundrum of wanting both to make something and nothing: ‘the problem was to attempt to establish, amongst other things, what material something could be, what shape something could be, what size something could be, how something could be constructed, how something could be situated … how many of something there could be, or should be, if any, if at all.’ (Quoted in Virginia Button, <i>The Turner Prize: Twenty Years</i>, London 2003, p.172.) His interrogation of his own motives reveals an anxiety about ‘making something extra for the world’ (quoted in Button 2003, p.172).</p>\n<p>Creed’s work emerges from an ongoing series of investigations into commonplace phenomena. His subtle interventions reintroduce us to elements of the everyday. Creed’s choice and use of materials – plain A4 sheets of paper, blu-tack, masking tape, party balloons, simple or ‘unpoetic’ language as text or as lyrics to songs – is a celebration of the ordinary, a spotlight on the ambiguity of everyday ‘stuff’.</p>\n<p>\n<b>Further reading </b>\n<br/>\n<i>Martin Creed</i>, exhibition catalogue, Ikon, Birmingham 2008, p.44.</p>\n<p>Helen Delaney<br/>May 2010</p>\n</div>\n",
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Neon lights | [
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Presented by the artist jointly to National Galleries of Scotland and Tate and acquired with assistance of the ARTIST ROOMS Fund, supported by the Henry Moore Foundation and Tate Members 2011 | AR01149 | {
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] | <p><span>Work No.890 DON’T WORRY </span>2008 consists of the phrase ‘DON’T WORRY’ spelled out in yellow neon capital letters. The neon tubes are made of yellow soda glass with white phosphor powder and are 15 mm thick. They are mounted directly onto the walls using clear polycarbonate tubes. The work is always displayed in a corner so that the word ‘WORRY’ is hung on the adjacent wall to the word ‘DON’T’ but at the same height. It is displayed high enough to be out of reach so visitors invariably have to look upwards in order to view it. Each word is capped and sealed and has an electrode fixed to the end of the neon tube, with a pipe for re-gassing. Fittings, wires and tubing that appear between the letters are painted out with white emulsion. There are joins visible on the letters as each letter exceeds the length of standard neon tubes. The piece was originally manufactured by a company called Neon Circus. The life expectancy of a neon artwork is around five to ten years, regardless of whether it is on display, and so this work will have to be re-made in the future.</p> | false | 1 | 2760 | installation neon lights | [
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] | Work No. 890: DON’T WORRY | 2,008 | ARTIST ROOMS Tate and National Galleries of Scotland | 2008 | CLEARED | 3 | Displayed dimensions: 515 × 2297 × 60mm, 515 × 2471 × 60 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>Work No.890 DON’T WORRY </i>2008 consists of the phrase ‘DON’T WORRY’ spelled out in yellow neon capital letters. The neon tubes are made of yellow soda glass with white phosphor powder and are 15 mm thick. They are mounted directly onto the walls using clear polycarbonate tubes. The work is always displayed in a corner so that the word ‘WORRY’ is hung on the adjacent wall to the word ‘DON’T’ but at the same height. It is displayed high enough to be out of reach so visitors invariably have to look upwards in order to view it. Each word is capped and sealed and has an electrode fixed to the end of the neon tube, with a pipe for re-gassing. Fittings, wires and tubing that appear between the letters are painted out with white emulsion. There are joins visible on the letters as each letter exceeds the length of standard neon tubes. The piece was originally manufactured by a company called Neon Circus. The life expectancy of a neon artwork is around five to ten years, regardless of whether it is on display, and so this work will have to be re-made in the future.</p>\n<p>As is the case with many of Creed’s artworks, <i>Work No.890 DON’T WORRY </i>is one of a series of almost identical works, the first of which is <i>Work No.220 (DON’T WORRY)</i> 1999–2002, which includes the same words in white neon. Subsequent versions are as follows: <i>Work No.239 (DON’T WORRY)</i> 2000 (in blue neon), <i>Work No.252 (NOLI SOLICITUS ESSE / SORGE DICH NICHT / DON’T WORRY / MH MEPIMNA) </i>2000 (in white neon, installed at St Peter’s Church, Cologne, Germany), <i>Work No.273 (DON’T WORRY) </i>2001 (in yellow neon), <i>Work No.277 (DON’T WORRY) </i>2002–3 (in green neon), <i>Work No.291 (DON’T WORRY) </i>2003 (in red neon) and<i> Work No.794 (DON’T WORRY) </i>2007 (in white neon).</p>\n<p>The phrase ‘DON’T WORRY’ is ambiguous in that it is apparently reassuring yet implies that there is something to be anxious about. Critic Michael Archer has written about this ambiguity in relation to the way in which the text is spread across two walls:</p>\n<p class=\"cttext\">\n</p><blockquote>This arrangement has the effect of splitting the text in half so that instead of striking one as a single platitude it appears to be two separate commands. First comes a prohibition: whatever it is you are doing, don’t do it anymore. Secondly there is an order to become anxious and concerned. The disconcertingly conflicting implications of the text are heightened by the lurid, intense yellow of the neon.<br/>(Archer 2008, p.44.)</blockquote>\n<p>In that it conveys a direct, seemingly innocent invocation to relax or to enjoy improved mental health, the work can also be associated with other pieces such as <i>Work No.203 EVERYTHING IS GOING TO BE ALRIGHT</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/creed-work-no-203-everything-is-going-to-be-alright-t12799\" title=\"View the details of this artwork\"><span>T12799</span></a>), which consists of the titular phrase made in white neon. Creed has stated that ‘I work to feel better. I produce things to help me to live ... Living and working is a matter of coming to terms with, to face up to, what comes out of you’ (Creed, Eccles, Gioni and others 2010, p.989). However, the curators of <i>Intelligence</i>, an exhibition held at Tate Britain<i> </i>in 2000<i> </i>which included <i>Work No.220 (DON’T WORRY)</i>, noted that the sentiments that Creed expresses in his text works are rarely as simple as they appear: ‘Such words of reassurance are often used when we feel most anxious. Seen in the context of the gallery, they suggest the kind of utopian role that artists might wish for, while puncturing any such ambition.’ (Creed in Virginia Button and Charles Esche, <i>Intelligence: New British Art</i>, exhibition catalogue, Tate Britain, London 2000, p.50.)</p>\n<p>Creed’s emphasis on subjective feelings and personal experience contrasts with the more cerebral text-based art of prominent conceptual artists such as Joseph Kosuth, Ed Ruscha and Lawrence Weiner (see, for example, Kosuth’s <i>Clock (One and Five), English/Latin Version </i>1965, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kosuth-clock-one-and-five-english-latin-version-t01909\" title=\"View the details of this artwork\"><span>T01909</span></a>, and Weiner’s <i>STRAIGHT DOWN TO BELOW</i><b> </b>1988, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/weiner-straight-down-to-below-ar00131\" title=\"View the details of this artwork\"><span>AR00131</span></a>). Unlike these predecessors, Creed avoids using overly intellectual or philosophical language, remarking that ‘I want what I want to say to go without saying’ (Martin Creed, ‘I don’t know what I want to say’, 2001, <a href=\"http://www.martincreed.com/site/words/i-dont-know-what-i-want-to-say\">http://www.martincreed.com/site/words/i-dont-know-what-i-want-to-say</a>, accessed 17 June 2013).</p>\n<p>Creed’s work is generally linked to a wide range of art movements including conceptualism, minimalism, situationism, abstraction and the Young British Artists movement of the 1990s. However, Creed often resists categorising his work according to such a lineage, remarking with an air of naivety and humour that ‘everything is kind of a little experiment in trying to make enough decisions to be able to come up with something I am happy with’ (Creed, Eccles, Gioni and others 2010, p.x).</p>\n<p>\n<i>Work No.890 DON’T WORRY</i> was first exhibited at Ikon Gallery in Birmingham in 2008. Creed became the first new artist to join the ARTIST ROOMS collection after its formal establishment in 2008 when he donated a complete ‘room’ of his work in 2012, including this work.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Martin Creed: Works</i>, exhibition catalogue, Southampton City Art Gallery, Southampton 2000.<br/>Michael Archer, ‘It’s Like This’, in <i>Martin Creed</i>, exhibition catalogue, Ikon Gallery, Birmingham 2008, pp.36–47.<br/>Martin Creed, Tom Eccles, Massimiliano Gioni and others, <i>Martin Creed Works</i>, London 2010, reproduced p.890.</p>\n<p>Andrew Patrizio<br/>The University of Edinburgh <br/>June 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>Work No.1102</span> 2011 consists of four thick horizontal rectangular strokes of bright red acrylic paint applied across a commercially prepared and unframed canvas. The bands of paint appear as though they are stacked on top of each other, and narrow incrementally in width from bottom to top so as to form a ziggurat shape. The bottom red stroke spans the entire width of the canvas. All of the white ground has been left exposed around the painted shape. The colour has been applied from left to right in two or more layers of uniform thickness with a set of flat brushes reducing in breadth from bottom to top (15 cm, 13.5 cm, 11 cm and 9.5 cm). The artist’s signature and the date (‘Martin Creed 2011’) is written in pencil on the reverse top edge of the canvas.</p> | false | 1 | 2760 | painting acrylic paint canvas | [
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"content": "<div class=\"text\">\n<p>\n<i>Work No.1102</i> 2011 consists of four thick horizontal rectangular strokes of bright red acrylic paint applied across a commercially prepared and unframed canvas. The bands of paint appear as though they are stacked on top of each other, and narrow incrementally in width from bottom to top so as to form a ziggurat shape. The bottom red stroke spans the entire width of the canvas. All of the white ground has been left exposed around the painted shape. The colour has been applied from left to right in two or more layers of uniform thickness with a set of flat brushes reducing in breadth from bottom to top (15 cm, 13.5 cm, 11 cm and 9.5 cm). The artist’s signature and the date (‘Martin Creed 2011’) is written in pencil on the reverse top edge of the canvas.</p>\n<p>\n<i>Work No.1102</i> is one of a series of paintings that the artist started making in 2006. Each work consists of one colour of acrylic paint applied according to the range of sizes available in one standard pack of household brushes. The first painting in this series, <i>Work No.508</i> <i>(Black Painting)</i> 2006 is composed of a stack of horizontal rectangular bands similar to <i>Work No.1102 </i>except that the sequence of painted strokes is reversed so that the thinnest band is at the bottom with the strokes getting thicker towards the top. Another work from 2006, <i>Work No.585</i>, consists of black strokes that are stacked along the left-hand margin. Subsequent related paintings include <i>Work No.596</i> 2006, <i>Work No.903</i>, <i>Work No.904</i>, <i>Work No.930</i>, <i>Work No.931</i>, <i>Work No.932</i>,<i> Work No.933</i>, <i>Work No.977</i> (all 2008), <i>Work No.991</i> 2009 and <i>Work No.1315</i> 2011.</p>\n<p>\n<i>Work No.1102</i> can also be compared to Creed’s stacked sculptural works including <i>Work No.67 (As many 1” squares as are necessary cut from 1” masking tape and piled up, adhesive sides down, to form a 1” cubic stack)</i> 1992, and to later sculptures such as <i>Work No.396</i> 2005, which consists of piled up planks of wood, and <i>Work No.916 </i>2008 and <i>Work No.998 </i>2009, which consist of stacked boxes and chairs respectively. Creed regularly returns to pre-existing motifs and processes when making new work. The artist has stated: ‘it has always been kind of like that for me, like going back to things and looking at [my works] again, jumping backwards and forwards.’ (‘Martin Creed: Twenty (More) Questions by Corinna Durland’, <a href=\"http://www.martincreed.com/site/words/questions-by-corinna-durland\">http://www.artincreed.com/site/words/questions-by-corinna-durland</a>, accessed 11 January 2013.)</p>\n<p>Links also exist with his first catalogued work, <i>Work No.3 (Yellow Painting)</i> 1986, described by Creed as ‘a single swirly brushmark made with a big brush on a small canvas. I was trying to simplify things: I wanted to make a painting with just one brushmark, one wave of the arm. I would like to make work that is direct and not thought-out, like a convulsion or a natural event. That painting was a bit like that.’ (<i>Martin Creed Works</i>, 2010, p.1015.)</p>\n<p>Journalist Miranda Sawyer, commenting on the ziggurat paintings, has remarked: ‘These works are all about restrictions: impersonal rules which require a quick, definitive line in space in order to complete the task ... the mark made must be directly proportional to the ground one. And so on, until there aren’t any paintbrushes left in the packet. Part random, part ordered.’ (Miranda Sawyer, ‘People Know What’s Fake and What’s Not’, <i>Observer</i>, 18 July 2010, <a href=\"http://www.guardian.co.uk/artanddesign/2010/jul/18/martin-creed-interview-miranda-sawyer\">http://www.guardian.co.uk/artanddesign/2010/jul/18/martin-creed-interview-miranda-sawyer</a>, accessed 11 January 2013.)</p>\n<p>\n<i>Work No.1102</i> emblematises a number of central themes and strategies found in much of Creed’s work, such as an economy of means and processes, minimal ordering and incrementation, and a certain playfulness. In this particular case the work demonstrates the artist’s reluctance to make overly conscious choices, specifically about what size of brush to select. He has stated that ‘I find it difficult to chose, or to judge, or to decide’ (cited in Virginia Button and Charles Esche, <i>Intelligence. New British Art 2000</i>, exhibition catalogue, Tate Britain, London 2000, p.49). Using all of the brushes equally is a way of avoiding having to choose one over another. For psychoanalyst Darian Leader, ‘These pieces are both testimony and solution to indecision’ (<i>Martin Creed Works</i>, 2010, p.xxxix). Regarding Creed’s paint choice, the critic Michael Archer has linked the artist’s approach to that of an acknowledged influence, the abstract painter Frank Stella (born 1936), who once said that in each of his canvases he was trying to ‘keep the paint as good as it was in the can’ (cited in Ikon Gallery 2008, p.36). Creed’s work is generally linked to a wide range of art movements from conceptualism, minimalism, situationism, abstraction and the ‘young British artist’ movement of the 1990s. However, Creed often resists categorising his work according to such a lineage, remarking with an air of naivety and humour that ‘everything is kind of a little experiment in trying to make enough decisions to be able to come up with something I am happy with’ (<i>Martin Creed Works</i>, 2010, p.x).</p>\n<p>\n<i>Work No.1102</i> and the three related works also gifted to ARTIST ROOMS (<i>Work No.1103</i> 2011, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/creed-work-no-1103-ar01152\" title=\"View the details of this artwork\"><span>AR01152</span></a>; <i>Work No.1104</i> 2011, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/creed-work-no-1104-ar01153\" title=\"View the details of this artwork\"><span>AR01153</span></a>; and <i>Work No.1105</i> 2011, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/creed-work-no-1105-ar01154\" title=\"View the details of this artwork\"><span>AR01154</span></a>) were donated to the ARTIST ROOMS collection before being publicly exhibited. Creed became the first new artist to join the ARTIST ROOMS collection after its formal establishment in 2008 when he donated a complete ‘room’ of his work in 2012, including this work. </p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Martin Creed: Works</i>, exhibition catalogue, Southampton City Art Gallery 2000.<br/>\n<i>Martin Creed,</i> exhibition catalogue, Ikon Gallery, Birmingham 2008.<br/>Martin Creed, Tom Eccles, Massimiliano Gioni and others, <i>Martin Creed Works</i>, London 2010.</p>\n<p>Andrew Patrizio<br/>The University of Edinburgh<br/>January 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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] | Work No. 837 | 2,007 | ARTIST ROOMS Tate and National Galleries of Scotland | 2007 | CLEARED | 3 | duration: 1min, 53sec
displayed: 1000 × 1300 × 440 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>Work No.837</i> 2007 is a four-channel video work with sound, shown on four monitors which are stacked on the floor on top of each other in a two by two grid. The video players are arranged behind the monitors. Each screen shows either a casually dressed young man or woman in an entirely empty, white environment where even the distinction between floor and wall is blurred by the luminous white background. Against this emptiness, a single person on each screen vomits profusely and repeatedly, before walking out of shot. The footage is looped.</p>\n<p>In the year before he made <i>Work No.837</i> Creed created several works featuring people vomiting. The first of these was <i>Work No.503</i>,<i> </i>a 35 mm colour film with sound of a young woman entering a white studio space and being sick before exiting the field of view. Other works of the same subject made in 2007 include the photographic print <i>Work No.509</i>, two 35 mm films called <i>Work No.546</i> and<i> Work No.547 </i>(the latter produced as a DVD for commercial release), and <i>Work No.583</i>, which consisted of four synchronised films. To make these works Creed used footage he had shot for <i>Work No. 610</i>.<i> Sick Film</i> 2006 (35 mm, 21 minutes).</p>\n<p>Critics have commented on the abject subject matter of Creed’s ‘sick’ works and on the experience of watching them. As Jonathan Watkins writes: ‘We are witnessing a kind of casual-smart regurgitation, a vomiting that is not desperate, but still tugs at our sympathetic nervous systems, tending to make us feel sick as well ... Sick, in particular, suggests a problem, and results from a fast involuntary reaction to something bad, or too much of a good thing.’ (Jonathan Watkins, ‘Shit, Sex and Sick’, in Ikon Gallery 2008, p.14.) Moreover, the fact that the footage is looped means that ‘any sense of relief is short-lived due to their [the actors’] reappearance seconds later’ (Jonathan Watkins, ‘Foreword’, in Ikon Gallery 2008, p.8). The critic Tom Eccles, however, has detected a satirical aspect to the work, suggesting that it parodies the manner in which the celebrated abstract expressionist painter Jackson Pollock dripped and splashed paint over canvases placed on the floor, captured most famously by the photographer Hans Namuth (Tom Eccles, ‘Interview with Martin Creed’, in Creed, Eccles, Gioni and others<i> </i>2010, p.xvii).</p>\n<p>According to Creed, however, <i>Work No.837</i> seems in part to be a reflection on the creative act:</p>\n<p class=\"cttext\">\n</p><blockquote>I was doing a talk and I was thinking that what I was trying to describe – the process of working – is a process of trying to get from the inside out. Being sick is a good example of that. And it’s a good example of something making something. It puts your insides out. You don’t really know what’s going to come out, it’s painful, but you feel better afterwards. The films are like portraits of people expressing themselves ... something uncontrolled. I am sick and tired of thinking. I want my work to be more like a vomit than a rumination. I just want to go ‘Blah!’ or ‘Woosh!’.<br/>(Cited in Creed, Eccles, Gioni and others 2010, p.xvii.)</blockquote>\n<p>The work can be considered in the context of video and performance art, which came to prominence in the 1960s in the United States and Europe in particular. Such work was often based on somewhat absurd, deliberately childish, visceral, abject or dramatic actions performed before an audience or to camera. Examples include Paul McCarthy’s video <i>Rocky </i>1976 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mccarthy-rocky-t07713\" title=\"View the details of this artwork\"><span>T07713</span></a>), Bruce Nauman’s <i>Violent Incident</i> 1986 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/nauman-violent-incident-t06732\" title=\"View the details of this artwork\"><span>T06732</span></a>) and <i>Raw Material Washing Hands, Normal</i> 1996 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/nauman-washing-hands-normal-ar00579\" title=\"View the details of this artwork\"><span>AR00579</span></a>), Marina Abramovic’s <i>Cleaning the Mirror #1,</i> 1995 (Solomon R. Guggenheim Museum, New York) and Roderick Buchanan’s <i>Sodastream</i> 1997 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/buchanan-sodastream-t07599\" title=\"View the details of this artwork\"><span>T07599</span></a>).</p>\n<p>Creed’s work is generally linked to a wide range of art movements from conceptualism, minimalism, situationism, abstraction and the Young British Artists movement of the 1990s. However, Creed often resists categorising his work according to such a lineage, remarking with an air of naivety and humour that ‘everything is kind of a little experiment in trying to make enough decisions to be able to come up with something I am happy with’ (Creed, Eccles, Gioni and others 2010, p.x).</p>\n<p>\n<i>Work No.837 </i>was first exhibited at Ikon Gallery in Birmingham in 2008. Creed became the first new artist to join the ARTIST ROOMS collection after its formal establishment in 2008 when he donated a complete ‘room’ of his work in 2012, including this work.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Martin Creed: Works</i>, exhibition catalogue, Southampton City Art Gallery, Southampton 2000.<br/>\n<i>Martin Creed</i>, exhibition catalogue, Ikon Gallery, Birmingham 2008, reproduced p.23.<br/>Martin Creed, Tom Eccles, Massimiliano Gioni and others, <i>Martin Creed: Works</i>, London 2010, p.xvii, reproduced p.837.</p>\n<p>Andrew Patrizio<br/>The University of Edinburgh <br/>June 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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] | Work No. 1103 | 2,011 | ARTIST ROOMS Tate and National Galleries of Scotland | 2011 | CLEARED | 6 | 610 × 457 × 22 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>Work No.1103</i> 2011 consists of seven thick horizontal rectangular strokes of dark red-brown oil paint applied across a commercially prepared and unframed canvas. The bands of paint appear as though they are stacked on top of each other, and narrow incrementally in width from bottom to top so as to form a ziggurat shape. The bottom stroke spans the entire width of the canvas. All of the white ground has been left exposed around the painted shape. The colour has been applied from left to right in a single layer of uniform thickness, with a set of flat brushes reducing in breadth from bottom to top (7.5 cm, 6.5 cm, 5.5 cm, 5 cm, 4 cm, 3.5 cm and 3 cm). The artist’s signature and the date (‘Martin Creed 2011’) is written in pencil on the reverse bottom edge of the canvas.</p>\n<p>\n<i>Work No.1103</i> is one of a series of paintings that the artist started making in 2006. Each work consists of one colour of oil paint applied according to the range of sizes available in one standard pack of household brushes. The first painting in this series, <i>Work No.508</i> <i>(Black Painting)</i> 2006 is composed of a stack of horizontal rectangular bands similar to <i>Work No.1103</i> except that the sequence of painted strokes reverses so that the thinnest band is at the bottom with the strokes getting thicker towards the top. Another work of 2006, <i>Work No.585</i>, consists of black strokes that are stacked along the left hand margin. Subsequent related paintings include <i>Work No.596</i> 2006, <i>Work No.903</i>, <i>Work No.904</i>, <i>Work No.930, Work No.931, Work No.932, Work No.933</i>, <i>Work No.977</i> (all 2008), <i>Work No.991</i> 2009 and <i>Work No.1315</i> 2011.</p>\n<p>\n<i>Work No.1103</i> can also be compared to Creed’s stacked sculptural works including <i>Work No.67 (As many 1” squares as are necessary cut from 1” masking tape and piled up, adhesive sides down, to form a 1” cubic stack)</i> 1992, and to later sculptures such as <i>Work No.396</i> 2005 which consists of piled up planks of wood, and <i>Work No.916 </i>2008 and <i>Work No.998 </i>2009 which consist of stacked boxes and chairs respectively. Creed regularly returns to pre-existing motifs and processes when making new work. The artist has stated: ‘it has always been kind of like that for me, like going back to things and looking at [my works] again, jumping backwards and forwards.’ (‘Martin Creed: Twenty (More) Questions by Corinna Durland’, <a href=\"http://www.martincreed.com/site/words/questions-by-corinna-durland\">http://www.martincreed.com/site/words/questions-by-corinna-durland</a>, accessed 11 January 2013.)</p>\n<p>Links also exist with his first catalogued work, <i>Work No.3 (Yellow Painting)</i> 1986, described by Creed as ‘a single swirly brushmark made with a big brush on a small canvas. I was trying to simplify things: I wanted to make a painting with just one brushmark, one wave of the arm. I would like to make work that is direct and not thought-out, like a convulsion or a natural event. That painting was a bit like that.’ (<i>Martin Creed Works</i>, 2010,<i> </i>p.1015.)</p>\n<p>Journalist Miranda Sawyer, commenting on the ziggurat paintings, has remarked: ‘These works are all about restrictions: impersonal rules which require a quick, definitive line in space in order to complete the task ... the mark made must be directly proportional to the ground one. And so on, until there aren’t any paintbrushes left in the packet. Part random, part ordered.’ (Miranda Sawyer, ‘People Know What’s Fake and What’s Not’, <i>Observer</i>, 18 July 2010, <a href=\"http://www.guardian.co.uk/artanddesign/2010/jul/18/martin-creed-interview-miranda-sawyer\">http://www.guardian.co.uk/artanddesign/2010/jul/18/martin-creed-interview-miranda-sawyer</a>, accessed 11 January 2013.)</p>\n<p>\n<i>Work No.1103</i> emblematises a number of central themes and strategies found in much of Creed’s work, such as an economy of means and processes, minimal ordering and incrementation, and a certain playfulness. In this particular case the work demonstrates the artist’s reluctance to make overly conscious choices, specifically about what size of brush to select. He has stated that ‘I find it difficult to chose, or to judge, or to decide’ (cited in Virginia Button and Charles Esche, <i>Intelligence. New British Art 2000</i>, exhibition catalogue, Tate Britain, London 2000, p.49). Using all of the brushes equally is a way of avoiding having to choose one over another. For psychoanalyst Darian Leader, ‘These pieces are both testimony and solution to indecision’ (<i>Martin Creed Works</i>, 2010, p.xxxix). Regarding Creed’s paint choice, the critic Michael Archer has linked the artist’s approach to that of an acknowledged influence, the abstract painter Frank Stella (born 1936) who once said that in each of his canvases he was trying to ‘keep the paint as good as it was in the can’ (cited in Ikon Gallery 2008, p.36). Creed’s work is generally linked to a wide range of art movements from conceptualism, minimalism, situationism, abstraction and the ‘young British artist’ movement of the 1990s. However, Creed often resists categorising his work according to such a lineage, remarking with an air of naivety, humour that ‘everything is kind of a little experiment in trying to make enough decisions to be able to come up with something I am happy with’ (<i>Martin Creed Works</i>, 2010, p.x).</p>\n<p>\n<i>Work No.1103</i> and the three related works also gifted to ARTIST ROOMS (<i>Work No.1102</i> 2011, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/creed-work-no-1102-ar01150\" title=\"View the details of this artwork\"><span>AR01150</span></a>; <i>Work No.1104</i> 2011, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/creed-work-no-1104-ar01153\" title=\"View the details of this artwork\"><span>AR01153</span></a>; and <i>Work No.1105</i> 2011, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/creed-work-no-1105-ar01154\" title=\"View the details of this artwork\"><span>AR01154</span></a>) were donated to the ARTIST ROOMS collection before being publicly exhibited. Collectively they form something of a sequential unit in having four, five, six and seven colour bands respectively. Creed became the first new artist to join the ARTIST ROOMS collection after its formal establishment in 2008 when he donated a complete ‘room’ of his work in 2012, including this work.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Martin Creed: Works</i>, exhibition catalogue, Southampton City Art Gallery 2000.<br/>\n<i>Martin Creed,</i> exhibition catalogue, Ikon Gallery, Birmingham 2008.<br/>Martin Creed, Tom Eccles, Massimiliano Gioni and others, <i>Martin Creed Works</i>, London 2010.</p>\n<p>Andrew Patrizio<br/>The University of Edinburgh<br/>March 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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] | <p><span>Work No.1104</span> 2011 consists of six thick horizontal rectangular strokes of deep opaque pink acrylic paint applied across a commercially prepared and unframed canvas. The bands of paint appear as though they are stacked on top of each other, and narrow incrementally in width from bottom to top so as to form a ziggurat shape. The bottom stroke spans the entire width of the canvas. All of the white ground has been left exposed around the painted shape. The colour has been applied from left to right in a single layer of uniform thickness, with a set of flat brushes reducing in breadth from bottom to top (13 cm, 10 cm, 8 cm, 6.5 cm, 5 cm and 4 cm). The artist’s signature and the date (‘Martin Creed 2011’) is written in pencil on the reverse top edge of the canvas.</p> | false | 1 | 2760 | painting acrylic paint canvas | [
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"content": "<div class=\"text\">\n<p>\n<i>Work No.1104</i> 2011 consists of six thick horizontal rectangular strokes of deep opaque pink acrylic paint applied across a commercially prepared and unframed canvas. The bands of paint appear as though they are stacked on top of each other, and narrow incrementally in width from bottom to top so as to form a ziggurat shape. The bottom stroke spans the entire width of the canvas. All of the white ground has been left exposed around the painted shape. The colour has been applied from left to right in a single layer of uniform thickness, with a set of flat brushes reducing in breadth from bottom to top (13 cm, 10 cm, 8 cm, 6.5 cm, 5 cm and 4 cm). The artist’s signature and the date (‘Martin Creed 2011’) is written in pencil on the reverse top edge of the canvas.</p>\n<p>\n<i>Work No.1104</i> is one of a series of paintings that the artist started making in 2006. Each work consists of one colour of acrylic paint applied according to the range of sizes available in one standard pack of household brushes. The first painting in this series, <i>Work No.508</i> <i>(Black Painting)</i> 2006 is composed of a stack of horizontal rectangular bands similar to <i>Work No.1103</i> except that the sequence of painted strokes reverses so that the thinnest band is at the bottom with the strokes getting thicker towards the top. Another work of 2006, <i>Work No.585</i>, consists of black strokes that are stacked along the left hand margin. Subsequent related paintings include <i>Work No.596</i> 2006, <i>Work No.903</i>, <i>Work No.904</i>, <i>Work No.930, Work No.931, Work No.932, Work No.933</i>, <i>Work No.977</i> (all 2008), <i>Work No.991</i> 2009 and <i>Work No.1315</i> 2011.</p>\n<p>\n<i>Work No.1104</i> can also be compared to Creed’s stacked sculptural works including <i>Work No.67 (As many 1” squares as are necessary cut from 1” masking tape and piled up, adhesive sides down, to form a 1” cubic stack)</i> 1992, and to later sculptures such as <i>Work No.396</i> 2005 which consists of piled up planks of wood, and <i>Work No.916 </i>2008 and <i>Work No.998 </i>2009 which consist of stacked boxes and chairs respectively. Creed regularly returns to pre-existing motifs and processes when making new work. The artist has stated: ‘it has always been kind of like that for me, like going back to things and looking at [my works] again, jumping backwards and forwards.’ (‘Martin Creed: Twenty (More) Questions by Corinna Durland’, <a href=\"http://www.martincreed.com/site/words/questions-by-corinna-durland\">http://www.martincreed.com/site/words/questions-by-corinna-durland</a>, accessed 11 January 2013.)</p>\n<p>Links also exist with his first catalogued work, <i>Work No.3 (Yellow Painting)</i> 1986, described by Creed as ‘a single swirly brushmark made with a big brush on a small canvas. I was trying to simplify things: I wanted to make a painting with just one brushmark, one wave of the arm. I would like to make work that is direct and not thought-out, like a convulsion or a natural event. That painting was a bit like that.’ (<i>Martin Creed Works</i>, 2010,<i> </i>p.1015.)</p>\n<p>Journalist Miranda Sawyer, commenting on the ziggurat paintings, has remarked: ‘These works are all about restrictions: impersonal rules which require a quick, definitive line in space in order to complete the task ... the mark made must be directly proportional to the ground one. And so on, until there aren’t any paintbrushes left in the packet. Part random, part ordered.’ (Miranda Sawyer, ‘People Know What’s Fake and What’s Not’, <i>Observer</i>, 18 July 2010, <a href=\"http://www.guardian.co.uk/artanddesign/2010/jul/18/martin-creed-interview-miranda-sawyer\">http://www.guardian.co.uk/artanddesign/2010/jul/18/martin-creed-interview-miranda-sawyer</a>, accessed 11 January 2013.)</p>\n<p>\n<i>Work No.1104</i> emblematises a number of central themes and strategies found in much of Creed’s work, such as an economy of means and processes, minimal ordering and incrementation, and a certain playfulness. In this particular case the work demonstrates the artist’s reluctance to make overly conscious choices, specifically about what size of brush to select. He has stated that ‘I find it difficult to chose, or to judge, or to decide’ (cited in Virginia Button and Charles Esche, <i>Intelligence. New British Art 2000</i>, exhibition catalogue, Tate Britain, London 2000, p.49). Using all of the brushes equally is a way of avoiding having to choose one over another. For psychoanalyst Darian Leader, ‘These pieces are both testimony and solution to indecision’ (<i>Martin Creed Works</i>, 2010, p.xxxix). Regarding Creed’s paint choice, the critic Michael Archer has linked the artist’s approach to that of an acknowledged influence, the abstract painter Frank Stella (born 1936) who once said that in each of his canvases he was trying to ‘keep the paint as good as it was in the can’ (cited in Ikon Gallery 2008, p.36). Creed’s work is generally linked to a wide range of art movements from conceptualism, minimalism, situationism, abstraction and the ‘young British artist’ movement of the 1990s. However, Creed often resists categorizing his work according to such a lineage, remarking with an air of naivety, humour that ‘everything is kind of a little experiment in trying to make enough decisions to be able to come up with something I am happy with’ (<i>Martin Creed Works</i>, 2010, p.x).</p>\n<p>\n<i>Work No.1104</i> and the three related works also gifted to ARTIST ROOMS (<i>Work No.1102</i> 2011, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/creed-work-no-1102-ar01150\" title=\"View the details of this artwork\"><span>AR01150</span></a>; <i>Work No.1103</i> 2011, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/creed-work-no-1103-ar01152\" title=\"View the details of this artwork\"><span>AR01152</span></a>; and <i>Work No.1105</i> 2011, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/creed-work-no-1105-ar01154\" title=\"View the details of this artwork\"><span>AR01154</span></a>) were donated to the ARTIST ROOMS collection before being publicly exhibited. Collectively they form something of a sequential unit in having four, five, six and seven colour bands respectively. Creed became the first new artist to join the ARTIST ROOMS collection after its formal establishment in 2008 when he donated a complete ‘room’ of his work in 2012, including this work.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Martin Creed: Works</i>, exhibition catalogue, Southampton City Art Gallery 2000.<br/>\n<i>Martin Creed,</i> exhibition catalogue, Ikon Gallery, Birmingham 2008.<br/>Martin Creed, Tom Eccles, Massimiliano Gioni and others, <i>Martin Creed Works</i>, London 2010.</p>\n<p>Andrew Patrizio<br/>The University of Edinburgh<br/>March 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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] | <p><span>Work No.1105</span> 2011 consists of five thick horizontal rectangular strokes of dark red acrylic paint applied across a commercially prepared and unframed canvas. The bands of paint appear as though they are stacked on top of each other, and narrow incrementally in width from bottom to top so as to form a ziggurat shape. The bottom stroke spans the entire width of the canvas. All of the white ground has been left exposed around the painted shape. The colour has been applied from left to right in a single layer of uniform thickness, with a set of flat brushes reducing in breadth from bottom to top (16 cm, 10.5 cm, 9 cm, 7.5 cm and 5 cm). The artist’s signature and the date (‘Martin Creed 2011’) is written in pencil on the reverse bottom edge of the canvas.</p> | false | 1 | 2760 | painting acrylic paint canvas | [
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"content": "<div class=\"text\">\n<p>\n<i>Work No.1105</i> 2011 consists of five thick horizontal rectangular strokes of dark red acrylic paint applied across a commercially prepared and unframed canvas. The bands of paint appear as though they are stacked on top of each other, and narrow incrementally in width from bottom to top so as to form a ziggurat shape. The bottom stroke spans the entire width of the canvas. All of the white ground has been left exposed around the painted shape. The colour has been applied from left to right in a single layer of uniform thickness, with a set of flat brushes reducing in breadth from bottom to top (16 cm, 10.5 cm, 9 cm, 7.5 cm and 5 cm). The artist’s signature and the date (‘Martin Creed 2011’) is written in pencil on the reverse bottom edge of the canvas.</p>\n<p>\n<i>Work No.1105</i> is one of a series of paintings that the artist started making in 2006. Each work consists of one colour of acrylic paint applied according to the range of sizes available in one standard pack of household brushes. The first painting in this series, <i>Work No.508</i> <i>(Black Painting)</i> 2006 is composed of a stack of horizontal rectangular bands similar to <i>Work No.1103</i> except that the sequence of painted strokes reverses so that the thinnest band is at the bottom with the strokes getting thicker towards the top. Another work of 2006, <i>Work No.585</i>, consists of black strokes that are stacked along the left hand margin. Subsequent related paintings include <i>Work No.596</i> 2006, <i>Work No.903</i>, <i>Work No.904</i>, <i>Work No.930, Work No.931, Work No.932, Work No.933</i>, <i>Work No.977</i> (all 2008), <i>Work No.991</i> 2009 and <i>Work No.1315</i> 2011.</p>\n<p>\n<i>Work No.1105</i> can also be compared to Creed’s stacked sculptural works including <i>Work No.67 (As many 1” squares as are necessary cut from 1” masking tape and piled up, adhesive sides down, to form a 1” cubic stack)</i> 1992, and to later sculptures such as <i>Work No.396</i> 2005 which consists of piled up planks of wood, and <i>Work No.916 </i>2008 and <i>Work No.998 </i>2009 which consist of stacked boxes and chairs respectively. Creed regularly returns to pre-existing motifs and processes when making new work. The artist has stated: ‘it has always been kind of like that for me, like going back to things and looking at [my works] again, jumping backwards and forwards.’ (‘Martin Creed: Twenty (More) Questions by Corinna Durland’, <a href=\"http://www.martincreed.com/site/words/questions-by-corinna-durland\">http://www.martincreed.com/site/words/questions-by-corinna-durland</a>, accessed 11 January 2013.)</p>\n<p>Links also exist with his first catalogued work, <i>Work No.3 (Yellow Painting)</i> 1986, described by Creed as ‘a single swirly brushmark made with a big brush on a small canvas. I was trying to simplify things: I wanted to make a painting with just one brushmark, one wave of the arm. I would like to make work that is direct and not thought-out, like a convulsion or a natural event. 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Part random, part ordered.’ (Miranda Sawyer, ‘People Know What’s Fake and What’s Not’, <i>Observer</i>, 18 July 2010, <a href=\"http://www.guardian.co.uk/artanddesign/2010/jul/18/martin-creed-interview-miranda-sawyer\">http://www.guardian.co.uk/artanddesign/2010/jul/18/martin-creed-interview-miranda-sawyer</a>, accessed 11 January 2013.)</p>\n<p>\n<i>Work No.1105</i> emblematises a number of central themes and strategies found in much of Creed’s work, such as an economy of means and processes, minimal ordering and incrementation, and a certain playfulness. In this particular case the work demonstrates the artist’s reluctance to make overly conscious choices, specifically about what size of brush to select. He has stated that ‘I find it difficult to chose, or to judge, or to decide’ (cited in Virginia Button and Charles Esche, <i>Intelligence. New British Art 2000</i>, exhibition catalogue, Tate Britain, London 2000, p.49). Using all of the brushes equally is a way of avoiding having to choose one over another. For psychoanalyst Darian Leader, ‘These pieces are both testimony and solution to indecision’ (<i>Martin Creed Works</i>, 2010, p.xxxix). Regarding Creed’s paint choice, the critic Michael Archer has linked the artist’s approach to that of an acknowledged influence, the abstract painter Frank Stella (born 1936) who once said that in each of his canvases he was trying to ‘keep the paint as good as it was in the can’ (cited in Ikon Gallery 2008, p.36). Creed’s work is generally linked to a wide range of art movements from conceptualism, minimalism, situationism, abstraction and the ‘young British artist’ movement of the 1990s. However, Creed often resists categorizing his work according to such a lineage, remarking with an air of naivety, humour that ‘everything is kind of a little experiment in trying to make enough decisions to be able to come up with something I am happy with’ (<i>Martin Creed Works</i>, 2010, p.x).</p>\n<p>\n<i>Work No.1105</i> and the three related works also gifted to ARTIST ROOMS (<i>Work No.1102</i> 2011, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/creed-work-no-1102-ar01150\" title=\"View the details of this artwork\"><span>AR01150</span></a>; <i>Work No.1103</i> 2011, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/creed-work-no-1103-ar01152\" title=\"View the details of this artwork\"><span>AR01152</span></a>; and <i>Work No.1104</i> 2011, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/creed-work-no-1104-ar01153\" title=\"View the details of this artwork\"><span>AR01153</span></a>) were donated to the ARTIST ROOMS collection before being publicly exhibited. Collectively they form something of a sequential unit in having four, five, six and seven colour bands respectively. Creed became the first new artist to join the ARTIST ROOMS collection after its formal establishment in 2008 when he donated a complete ‘room’ of his work in 2012, including this work.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Martin Creed: Works</i>, exhibition catalogue, Southampton City Art Gallery 2000.<br/>\n<i>Martin Creed,</i> exhibition catalogue, Ikon Gallery, Birmingham 2008.<br/>Martin Creed, Tom Eccles, Massimiliano Gioni and others, <i>Martin Creed Works</i>, London 2010.</p>\n<p>Andrew Patrizio<br/>The University of Edinburgh <br/>March 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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Related prints include <i>Jupiter Moon – Constellation </i>1983 (Tate ARTIST ROOMS <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>, Constellation – Uccello</i> 1983 (Tate ARTIST ROOMS <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>) and <i>Concentric Bearings A</i> 1984 (Tate ARTIST ROOMS <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>) – all of which similarly combine two images on a single plate.</p>\n<p>Meticulously rendered details of natural environments, such as night-skies, lunar landscapes, the desert and seascapes, are all subjects that Celmins repeatedly explores in her work. In <i>Alliance</i>, she combined one of her ‘star-field’ images alongside a delicately drawn image of a boat. The boat image is taken from a found source, most probably an engineer’s drawing of a ship, which Celmins meticulously copied. The use of photographs is central to Celmins’s practice. Whether painted, drawn or etched, most of her work has its origins in some sort of photographic image, either a found image or a photograph taken by the artist herself. Celmins often isolates part of the source image, rendering it as a close-up detail, so that it appears fragmented. Art historian Lane Relyea has argued that Celmins’s images appeal ‘to a reality beyond the material facts … the reference itself always points in two directions, claiming simultaneously its own sudden presence as well as its unavoidable displacement.’ (Relyea, Gober and Fer 2004, p.87.) It is typical of Celmins’s prints that they often sit within a large white border. Elke M. Solomon has suggested that this method helps ‘Celmins to apprehend her subject as a clearly defined object and not fragmentary images: the subject matter is clearly a photograph.’ (Cited in Storsve 2007, p.21.)</p>\n<p>\n<i>Alliance </i>is one of the first prints in which Celmins combined two or more plates on a single sheet. Prior to this, she had made drawings in which images of night skies were juxtaposed with details of natural landscapes, such as <i>Untitled (Desert – Galaxy) </i>1974 (Tate ARTIST ROOMS <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>). Discussing her decision to create work in which she juxtaposed two or more images, Celmins explained:</p>\n<p class=\"cttext\">\n</p><blockquote>After some five years of doing intense single images with no composition, but just subtle adjustments to the plane, I could stand it no longer, so I started putting one image next to another. Sort of just shoving them together ... like a galaxy image that invites you in, next to a desert surface that projects out at you. It meant that when you were close to the work each eye would see a different image, or you would have to move your attention from one to the other, but when you pulled back a bit, the images seemed to be working together, and made for a more complex spatial experience. For a while I liked that, and I did a series of double and triple-image works using pictures, mostly torn from books and magazines, that I had collected over the years. I’m creating a flat, invented world. Imagination comes in from building an image so that it has a physical reality with some real staying power. I try to make a work that is thoroughly considered and has a strong form. However, the manipulating of the surface is subtle and sensuous. It is in the nuances of the way the graphite feels and the marks that are left.</blockquote>\n<blockquote>(Quoted in ‘Me, You, Us: Anthony d’Offay and Others on ARTIST ROOMS’, Tate Etc., no.16, Summer 2009, p.79.)</blockquote>\n<p>\n<i>Alliance</i> was included in the major exhibition of Vija Celmins’s prints at the Metropolitan Museum of Art, New York in 2002.</p>\n<p>\n<b>Further reading</b>\n<br/>Jonas Storsve, <i>Vija Celmins: Dessins/Drawings</i>, exhibition catalogue, Centre Pompidou, Paris 2007.<br/>Lane Relyea, Robert Gober and Briony Fer, <i>Vija Celmins</i>, London 2004.<br/>Samantha Rippner, <i>The Prints of Vija Celmins</i>, exhibition catalogue, The Metropolitan Museum of Art, New York 2002, reproduced p.20.</p>\n<p>Kyla McDonald<br/>May 2010</p>\n</div>\n",
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] | <p><span>A Divided Self I and A Divided Self II</span> 1996 is a two-channel video installation displayed on two monitors. The work shows a close-up of two arms, one hairy and the other smooth, fighting each other on a bed sheet. In the first video the hairy arm has dominance, while in the second it is the smooth arm that defeats its opponent. As the videos develop it becomes clear that both arms belong to the artist, and that he is wrestling with himself. As the title indicates, the battle between the two arms suggests an internal battle between two halves of the self; however the source of the self-inflicted torment remains a mystery.</p> | false | 1 | 2617 | installation video 2 monitors colour | [
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"content": "<div class=\"text\">\n<p>\n<i>A Divided Self I and A Divided Self II</i> 1996 is a two-channel video installation displayed on two monitors. The work shows a close-up of two arms, one hairy and the other smooth, fighting each other on a bed sheet. In the first video the hairy arm has dominance, while in the second it is the smooth arm that defeats its opponent. As the videos develop it becomes clear that both arms belong to the artist, and that he is wrestling with himself. As the title indicates, the battle between the two arms suggests an internal battle between two halves of the self; however the source of the self-inflicted torment remains a mystery.</p>\n<p>The work makes reference to a passage in the novel <i>The Strange Case of Dr Jekyll and Mr Hyde</i> of 1886 by Robert Louis Stevenson, in which the author relates the physical transformation that occurs in Dr Jekyll when he takes the draught that turns him into Mr Hyde:</p>\n<p class=\"cttext\">\n</p><blockquote>in one of my more wakeful moments, my eyes fell upon my hand. Now the hand of Henry Jekyll … was professional in shape and size: it was large, firm, white and comely. But the hand which I now saw, clearly enough, in the yellow light of a mid-London morning, lying half shut on the bedclothes, was lean, corder, knuckly, of a dusky pallor and thickly shaded with a swart growth of hair. It was the hand of Edward Hyde.<br/>(Robert Louis Stevenson, <i>The Strange Case of Dr Jekyll and Mr Hyde</i>, New York 1987, p.112.)</blockquote>\n<p>References to<i> The Strange Case of Dr Jekyll and Mr Hyde</i> and the literary tradition of split personality established by Stevenson and other Scottish authors such as James Hogg have appeared in some of Gordon’s other works. For instance, the video installation <i>Confessions of a Justified Sinner</i> 1995–6 (Fondation Cartier pour l’Art Contemporain, Paris) takes its title from Hogg’s novel <a href=\"http://en.wikipedia.org/wiki/The_Private_Memoirs_and_Confessions_of_a_Justified_Sinner%22 \\o %22The Private Memoirs and Confessions of a Justified Sinner\"><i>The Private Memoirs and Confessions of a Justified Sinner</i></a> of 1824, while making use of scenes taken from Rouben Mamoulian’s 1931 film adaptation of Stevenson’s <i>The Strange Case of Dr Jekyll and Mr Hyde</i>. Inscribed within this tradition, <i>A Divided Self I and A Divided Self II</i> takes its title from the Scottish psychiatrist R.D. Laing’s pivotal and controversial treatise on mental illness, <i>The Divided Self: An Existential Study in Sanity and Madness</i> of 1960. In this book Laing argued that psychosis is not a medical condition but an outcome of the ‘divided self’ or the tension between the two personas within us: one our authentic, private identity, and the other the false, sane self that we present to the world.</p>\n<p>Gordon often uses his own body as a ground for debate, exploring how contradictory human nature can be, and involves the viewer in the role of both confessor and witness to his investigations. For example, during the late 1990s, following the release of <i>A Divided Self I and A Divided Self II</i>, Gordon made a series of single and double screen videos, including <i>Hand and Foot (Right)</i> <i>and</i> <i>Hand and Foot (Left)</i> 1995–6, <i>Left Dead</i> 1998, <i>Dead Right</i> 1998 and <i>Blue</i> 1998, featuring parts of his body doing something or having something done to them. This series of videos displays a fascination with doubling, mirroring and reflection and portrays the artist turning against himself – wrestling, constraining and disfiguring his own body.</p>\n<p>Based in Glasgow and New York Gordon works in various media including film, text, photographs, video and various types of installation. He has become best known for works made using existing film footage – both documentary and fictional – altering its pace, context or scale.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Douglas Gordon</i>, exhibition catalogue, Museum of Contemporary Art, Los Angeles 2001.<br/>\n<i>Superhumanatural</i>, exhibition catalogue, National Gallery of Scotland, Edinburgh 2006.</p>\n<p>Carmen Juliá<br/>February 2012</p>\n</div>\n",
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"content": "<div class=\"text\">\n<p>\n<i>untitled: upturnedhouse2, 2012</i> 2012 is a large-scale sculpture by Phyllida Barlow. The structure is made of wood, steel, polyurethane foam and cement with a surface comprising multiple panels. This enclosure-like shape appears to balance jauntily on a stack of wooden wedges made to resemble concrete, while blocks and planes also jut from the sides of the work. The panels are painted in different colours in a bold palette of intense reds and yellows combined with softer hues of pink and grey, with the inclusion of black at intervals so as to break up any sense of colour synchrony. With one corner raised in the air, the work looks as if it could possibly collapse or tip over, hardly finding its balance on the wedges that purportedly keep it in place. The title of the work – as is typical in Barlow’s practice – is an ‘all-in-one’ compound word that points to a functional structure (a house) that has been abstracted from its initial form and purpose to become an object of display now devoid of any function.</p>\n<p>The work is representative of Barlow’s approach to sculpture, which is characterised by the use of inexpensive and readily available materials that she transforms through processes of layering, accumulation and juxtaposition. The artist has described her own work variously as consciously ‘Big Bad [and] Ugly’ and as ‘wordless, wild, messy, unpredictable, ugly, difficult’ (quoted in Godfrey and Wood 2004, pp.53, 63). Since the late 1960s Barlow has focused on the physical experience of handling materials, which she transforms through processes of layering, accumulation and juxtaposition. Obtrusive and invasive, Barlow’s large-scale sculptural objects are frequently arranged in complex installations in which mass and volume seem to be at odds with the space around them. Their presence is restless and unpredictable: they block, interrupt, intervene, straddle and perch in the exhibition space, both dictating and challenging the experience of viewing. Household materials, such as carpets, sheets, cardboard and ropes, are often combined with DIY materials such as foam, Formica, polystyrene, concrete and timber, held together through different actions such as cutting, slicing, sawing, breaking or wrecking, as well as coiling, folding, wrapping or covering. Rather than employing traditional sculptural working methods like carving or welding, Barlow’s work is characterised by accumulation and arrangement. Through an unmediated physical encounter with the materials, she manipulates structures and builds up surfaces.</p>\n<p>In the early 1990s Barlow began to work with arrangements and groupings of sculptures,<i> </i>focusing on ‘the space between the objects and what that did to an audience, how the audience moved around the works and discovered each one of them’ (the artist in conversation with curator Pippa Coles in Coles and Fabrizi 2004, p.47). This interest in the dynamic between her works themselves, and between them and the viewer, has been a continuing theme in her practice ever since. Talking about the relationship established between the work and the audience in the exhibition space, the artist has noted:</p>\n<p class=\"cttext\">\n</p><blockquote>Initially the audience is myself. How I’m physically negotiating the space is often more important than the object itself. They are obstacles to be navigated, protagonists that I feel I’m encountering. The private view consequently comes as a terrible shock, because here are all these people who are there to use the space. It feels extraordinary that the audience are being allowed on the stage and are somehow grabbing the script from me!<br/>(Quoted in Oliver Basciano, ‘Feature: Phyllida Barlow’, <i>Art Review</i>, no.39, March 2010, p.72.)</blockquote>\n<p>\n<b>Further reading</b>\n<br/>Mark Godfrey and Jon Wood, <i>Objects For … And Other Things: Phyllida Barlow</i>, London 2004.<br/>Pippa Coles and Elisabetta Fabrizi (eds.),<i> Phyllida Barlow: Peninsula: A New Baltic Commission</i>, exhibition catalogue, BALTIC Centre for Contemporary Art, Gateshead 2004.<br/>\n<i>Phyllida Barlow: Street</i>, exhibition catalogue, BAWAG Contemporary, Vienna 2010.</p>\n<p>Carmen Juliá<br/>July 2014<br/>Revised October 2014</p>\n</div>\n",
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} | 7012026 7019073 7002445 7008591 7011781 7008136 | Dame Phyllida Barlow DBE RA | 2,015 | [] | <p><span>untitled: torque, 2015 </span>2015 is a hanging sculpture, at the heart of which is a spiraling armature made of steel that appears to be turning endlessly around a metal axis. The armature is covered with a tangle of various materials such as polystyrene, cement, fabric and tape which have been painted in black, reds, pinks and oranges, colours that are characteristic of Barlow’s distinctive palette. The work is attached to a metal support mounted on the wall and it appears to be suspended in space, its linear shape resembling a knot or a scribble. Many of Barlow’s titles are descriptive of the physical action carried out to give shape to the materials used, and this is the case with this work, torque being the tendency of a force to rotate an object about an axis. Just as a force is a push or a pull, torque can be thought of as a twist to an object and, used in this context, it defines the physical shape that the sculpture has been given.</p> | false | 1 | 10908 | sculpture steel polyurethane foam cement wool fabric paint pva | [
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"content": "<div class=\"text\">\n<p>\n<i>untitled: torque, 2015 </i>2015 is a hanging sculpture, at the heart of which is a spiraling armature made of steel that appears to be turning endlessly around a metal axis. The armature is covered with a tangle of various materials such as polystyrene, cement, fabric and tape which have been painted in black, reds, pinks and oranges, colours that are characteristic of Barlow’s distinctive palette. The work is attached to a metal support mounted on the wall and it appears to be suspended in space, its linear shape resembling a knot or a scribble. Many of Barlow’s titles are descriptive of the physical action carried out to give shape to the materials used, and this is the case with this work, torque being the tendency of a force to rotate an object about an axis. Just as a force is a push or a pull, torque can be thought of as a twist to an object and, used in this context, it defines the physical shape that the sculpture has been given.</p>\n<p>Barlow has described her work variously as ‘Big Bad [and] Ugly’ and as ‘wordless, wild, messy, unpredictable, ugly, difficult’ (quoted in Barlow 2004, pp.53, 63). From the late 1960s to today, she has focused on the physical experience of handling materials, which she transforms through processes of layering, accumulation and juxtaposition. Obtrusive and invasive, Barlow’s large-scale sculptural objects are frequently arranged in complex installations in which mass and volume seem to be at odds with the space around them. In her works, household materials such as carpets, sheets and ropes are often combined with cardboard, foam, Formica, polystyrene, concrete and timber, and held together through different actions such as cutting, slicing, sawing, breaking or wrecking, as well as coiling, folding, wrapping or covering. Rather than employing traditional working methods for sculpture, such as carving or welding, her work is characterised by accumulation and arrangement. Through an unmediated physical encounter with her materials, the artist manipulates structures and builds up surfaces.</p>\n<p>\n<i>Untitled: torque</i> derives from Barlow’s interest in the ‘lump’, a base form that she considers to have been marginalised in British sculpture. In her proposal for her sculpture commission for Tate Britain’s Duveen Galleries in 2014, she wrote:</p>\n<p class=\"cttext\">\n</p><blockquote>The ‘lump’, at its best, is unnameable and unrecognisable. This ungainly form, where both the inside and outside can be revealed, is definitively sculptural. For some time I have been reclaiming my previous experience of sculpture by making ‘lump’ sculptures again. It has been revitalising and challenging where experimentation with materials, processes, weight and gravity has been of prime importance. The sculptural object blocks, interrupts, intervenes, straddles, perches, and above all, occupies the space we might otherwise occupy ourselves. Despite its usually static identity, the sculptural object is restless and unpredictable in how it can use space. It is not necessarily a comfortable or comforting experience. And the ‘lump’, as the most primary of sculptural objects, is uncompromising in its blatant exposure of these attributes.</blockquote>\n<p>This contrary nature of Barlow’s sculpture is demonstrated in this hanging work which is at once structured and organic, static and dynamic, lumpish and yet apparently able to float in space.</p>\n<p>\n<b>Further reading</b>\n<br/>Phyllida Barlow, <i>Objects For … And Other Things. Phyllida Barlow</i>, London 2004.<br/>\n<i>Phyllida Barlow Peninsula, A New Baltic Commission</i> 2004–5, exhibition catalogue, BALTIC, Centre for Contemporary Art, Gateshead 2005.<br/>\n<i>Phyllida Barlow Street</i>, exhibition catalogue, BAWAG Contemporary, Vienna 2010.</p>\n<p>Carmen Juliá<br/>April 2016</p>\n</div>\n",
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"content": "<div class=\"text\">\n<p>This is one of a group of twelve drawings in acrylic paint on paper made over the years 2014 and 2015 (see Tate Artist Rooms <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/barlow-untitled-black-1-2014-ar01233\" title=\"View the details of this artwork\"><span>AR01233</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/barlow-untitled-black-12-2015-ar01244\" title=\"View the details of this artwork\"><span>AR01244</span></a>). Each drawing is titled in the same way with its number in the sequence. Painted in thick brushstrokes, the drawings retain great spontaneity of feeling, notable in the vitality of the swirling strokes, suggesting both solid and formless shapes which are built up by combining masses and thick lines of black and white paint. Most of the drawings follow a very similar compositional scheme, depicting a central motif outlined in either white or black against a background using the opposite colour. Numbers 1, 4, 5, 9 and 11 in the sequence depict a central motif with interlocking black planes or lines set against a muddy white background. In contrast, in numbers 2, 3, 6, 7, 8, 10 and 12 the shapes are outlined in white and are placed against a black background. </p>\n<p>Drawing is central to Barlow’s practice and has become a daily activity for the artist. From quick sketches to finished works, her drawings are a relatively private part of her practice. In contrast to her sculptural works, which she makes surrounded by assistants, their production is a solitary pursuit, and they are primarily part of the artist’s thought process, in service of a larger project, without thinking of public display or of an audience. Barlow often draws before, during and after making sculpture. For her, drawing is a means to test out ideas for sculptures, to keep them alive as they are being executed and to evolve them into something unexpected that takes them away from their initial intent. Where her earlier drawings, such as <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/barlow-untitled-t13841\" title=\"View the details of this artwork\"><span>T13841</span></a>), for example, are more obviously related to her sculptural vocabulary, her later drawings such as these black drawings are often more abstract and independent in their form.</p>\n<p>Barlow has described her drawing as ‘quick, intimate, open to change and spontaneous decision, and irrational changes of mind and direction’. While the process of sculpture can be a protracted one, drawing provides her with an intensely creative release of ideas as well as a tool for beginning to map out larger works. She has explained:</p>\n<p class=\"cttext\">\n</p><blockquote>It has now become essential for me to get thoughts about possible works down as directly and as quickly as possible. It is a way of testing out a possible work’s potential for realisation: how it might or could be, as well as what, where, how big or small; as well as asking what kind of object is it, how much space it needs or owns. Then the proposed work begins to evolve on the paper with the pushing and spreading and liquidity of the paint and changes happen. The paper has become a space. The acrylic allows both edges and mass to argue with each other. Images can become blurred gestures, or can be more pronounced and as such be a guide for how to proceed with the physical and material making. (‘Phyllida Barlow in Conversation with Sophie Raikes’, in Henry Moore Institute 2012, pp.34–5.)</blockquote>\n<p>\n<b>Further reading</b>\n<br/>Bad Copies: The Drawings of Phyllida Barlow, Essays on Sculpture, exhibition catalogue, Henry Moore Institute, Leeds 2012.</p>\n<p>Carmen Juliá<br/>April 2016</p>\n</div>\n",
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||||||||||||||
Acrylic paint on paper | [
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] | 2,015 | <a href="https://www.tate.org.uk/art/artists/dame-phyllida-barlow-dbe-ra-10908" aria-label="More by Dame Phyllida Barlow DBE RA" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Dame Phyllida Barlow DBE RA</a> | black 6 2015 | 2,017 | [] | ARTIST ROOMS
Tate and National Galleries of Scotland. Presented by the artist and acquired with assistance from the ARTIST ROOMS Fund, supported by the Henry Moore Foundation and Tate Members 2016 | AR01238 | {
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] | <p>This is one of a group of twelve drawings in acrylic paint on paper made over the years 2014 and 2015 (see Tate Artist Rooms AR01233–AR01244). Each drawing is titled in the same way with its number in the sequence. Painted in thick brushstrokes, the drawings retain great spontaneity of feeling, notable in the vitality of the swirling strokes, suggesting both solid and formless shapes which are built up by combining masses and thick lines of black and white paint. Most of the drawings follow a very similar compositional scheme, depicting a central motif outlined in either white or black against a background using the opposite colour. Numbers 1, 4, 5, 9 and 11 in the sequence depict a central motif with interlocking black planes or lines set against a muddy white background. In contrast, in numbers 2, 3, 6, 7, 8, 10 and 12 the shapes are outlined in white and are placed against a black background.</p> | false | 1 | 10908 | paper unique acrylic paint | [
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frame: 650 × 840 × 39 mm | accessioned work | ARTIST ROOMS Tate and National Galleries of Scotland | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Tate and National Galleries of Scotland. Presented by the artist and acquired with assistance from the <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> Fund, supported by the Henry Moore Foundation and <a href="/search?gid=999999973" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Tate Members</a> 2016 | [
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"content": "<div class=\"text\">\n<p>This is one of a group of twelve drawings in acrylic paint on paper made over the years 2014 and 2015 (see Tate Artist Rooms <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/barlow-untitled-black-1-2014-ar01233\" title=\"View the details of this artwork\"><span>AR01233</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/barlow-untitled-black-12-2015-ar01244\" title=\"View the details of this artwork\"><span>AR01244</span></a>). Each drawing is titled in the same way with its number in the sequence. Painted in thick brushstrokes, the drawings retain great spontaneity of feeling, notable in the vitality of the swirling strokes, suggesting both solid and formless shapes which are built up by combining masses and thick lines of black and white paint. Most of the drawings follow a very similar compositional scheme, depicting a central motif outlined in either white or black against a background using the opposite colour. Numbers 1, 4, 5, 9 and 11 in the sequence depict a central motif with interlocking black planes or lines set against a muddy white background. In contrast, in numbers 2, 3, 6, 7, 8, 10 and 12 the shapes are outlined in white and are placed against a black background. </p>\n<p>Drawing is central to Barlow’s practice and has become a daily activity for the artist. From quick sketches to finished works, her drawings are a relatively private part of her practice. In contrast to her sculptural works, which she makes surrounded by assistants, their production is a solitary pursuit, and they are primarily part of the artist’s thought process, in service of a larger project, without thinking of public display or of an audience. Barlow often draws before, during and after making sculpture. For her, drawing is a means to test out ideas for sculptures, to keep them alive as they are being executed and to evolve them into something unexpected that takes them away from their initial intent. Where her earlier drawings, such as <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/barlow-untitled-t13841\" title=\"View the details of this artwork\"><span>T13841</span></a>), for example, are more obviously related to her sculptural vocabulary, her later drawings such as these black drawings are often more abstract and independent in their form.</p>\n<p>Barlow has described her drawing as ‘quick, intimate, open to change and spontaneous decision, and irrational changes of mind and direction’. While the process of sculpture can be a protracted one, drawing provides her with an intensely creative release of ideas as well as a tool for beginning to map out larger works. She has explained:</p>\n<p class=\"cttext\">\n</p><blockquote>It has now become essential for me to get thoughts about possible works down as directly and as quickly as possible. It is a way of testing out a possible work’s potential for realisation: how it might or could be, as well as what, where, how big or small; as well as asking what kind of object is it, how much space it needs or owns. Then the proposed work begins to evolve on the paper with the pushing and spreading and liquidity of the paint and changes happen. The paper has become a space. The acrylic allows both edges and mass to argue with each other. Images can become blurred gestures, or can be more pronounced and as such be a guide for how to proceed with the physical and material making. (‘Phyllida Barlow in Conversation with Sophie Raikes’, in Henry Moore Institute 2012, pp.34–5.)</blockquote>\n<p>\n<b>Further reading</b>\n<br/>Bad Copies: The Drawings of Phyllida Barlow, Essays on Sculpture, exhibition catalogue, Henry Moore Institute, Leeds 2012.</p>\n<p>Carmen Juliá<br/>April 2016</p>\n</div>\n",
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] | null | false | 226 19508 9663 185 6795 | false | artwork |
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