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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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"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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] | <p><span>West 1 </span>1998 is a large-scale oil painting on linen. Rectangular and landscape in format, it depicts a night-time view of an urban environment where the windows of a city building or block of flats – lit from within by electric light – are illuminated against a dark, black evening sky. Painted with a monochromatic palette, the backlit windows are depicted with single brushstrokes of white paint and the composition is unified by the dense black background.</p> | false | 1 | 1386 | painting oil paint canvas | [
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] | West 1 | 1,998 | ARTIST ROOMS Tate and National Galleries of Scotland | 1998 | CLEARED | 6 | object: 2445 × 4885 × 64 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 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> 2017 | [
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"content": "<div class=\"text\">\n<p>\n<i>West 1 </i>1998 is a large-scale oil painting on linen. Rectangular and landscape in format, it depicts a night-time view of an urban environment where the windows of a city building or block of flats – lit from within by electric light – are illuminated against a dark, black evening sky. Painted with a monochromatic palette, the backlit windows are depicted with single brushstrokes of white paint and the composition is unified by the dense black background.</p>\n<p>Whilst Katz is best known for his highly stylised portraits of family members and friends (see, for example, <i>Hiroshi and Marcia</i> 1981 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/katz-hiroshi-and-marcia-t03805\" title=\"View the details of this artwork\"><span>T03805</span></a>]), landscape has remained a central theme in his work since the 1950s. His paintings explore both the rural beauty of the American town of Lincolnville and the wider Maine coastline, where Katz has spent his summers since 1954, and the harder-edged modernist architecture of New York, where he has lived in an artists’ cooperative building in SoHo since 1968. Following a large body of work exploring the various qualities of daylight in these locations, Katz produced his first night-time paintings in 1986, fascinated by the radically different experience of light the darkness offered. He has said: ‘There are so many kinds of daylight and nightlight. I thought they should get equal attention.’ (Quoted in Museum der Moderne Mönchsberg 2013, p.18.) He has since painted night-time light in different settings; both the artificial lights of the urban environment and the natural light of the moon reflected on surfaces such as water.</p>\n<p>Many of Katz’s urban night scenes – such as <i>Night Branch </i>1994 (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/katz-night-branch-ar00009\" title=\"View the details of this artwork\"><span>AR00009</span></a>) and <i>City Night </i>1998 (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/katz-city-night-ar00012\" title=\"View the details of this artwork\"><span>AR00012</span></a>) – juxtapose the artificially lit windows of apartment buildings, such as the one in which he lives, with tree branches. <i>West 1</i>, however,<i> </i>is starker and more minimalist in aesthetic and, as a result, less easily identifiable as a depiction of any particular location. Rather than focusing on the way in which light gives character to an environment in a broader sense, this painting makes electric light – as emitted by a cluster of urban windows in the corner of a residential block – its primary subject matter. It dramatises the experience of city lights at night from a position of darkness and is defined by the time of day at which it was painted; the subject matter emerges, quite literally, from the darkness that fills the canvas. Speaking about the pivotal role of light within his work, Katz has said: ‘Light is the initial flash of what you see; that’s what I’m after.’ (Quoted in Serpentine Gallery 2016, p.14.)</p>\n<p>\n<i>West 1 </i>is painted on a monumental scale, placing the viewer in a voyeuristic outsider position from which they are enveloped by the surrounding darkness of the canvas. Katz’s composition focuses on the light source behind each of the backlit windows, conveyed with a single brushstroke of white paint to represent each aperture. Despite such a restricted palette and economy of means, the application of paint is highly evocative; a fact demonstrated by the single unfinished window frame in the centre of the composition on the left-hand side of the painting which reveals the artist’s technique. Applied in layers wet on wet, the white oil paint – when dragged by Katz through the still tacky dark ground underneath – mixes to form streaks of grey, and becomes textured in a way that evokes the spatial depth of the interior of each room beyond the window. Further detail is added to the window frames in the form of overpainted vertical and horizontal black lines which indicate the grilles that divide the separate panes of glass, and small white marks within the boundaries of each that evoke the glares and reflections cast by bright artificial light.</p>\n<p>\n<i>West 1 </i>was included in Katz’s solo exhibition, <i>Alex Katz: Quick Light</i>, at the Serpentine Gallery in London (2 June–11 September 2016).</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Alex Katz. New York / Maine</i>, exhibition catalogue, Museum der Moderne Mönchsberg, Salzburg, 9 March–7 July 2013.<br/>\n<i>Alex Katz: Quick Light</i>, exhibition catalogue, Serpentine Gallery, London, 2 June–11 September 2016, illustrated pp.76–7.</p>\n<p>Hannah Johnston<br/>September 2016</p>\n</div>\n",
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