bigdata-pw/tate · Datasets at Hugging Face

Oil paint on canvas

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118,097

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2,010

<a href="https://www.tate.org.uk/art/artists/lynette-yiadom-boakye-16784" aria-label="More by Lynette Yiadom-Boakye" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Lynette Yiadom-Boakye</a>

Generosity

2,012

[]

Presented by Tate Patrons 2012

T13654

{ "id": 6, "meta": { "type": "art.Classification" } }

7011781 7008136 7002445 7008591

Lynette Yiadom-Boakye

2,010

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Yiadom-Boakye’s portraits are fuelled by her interest in the history of figurative painting. Her work can perhaps also be seen as a critique of this history, addressing the absence of black subjects in western European and North American portraiture. She emphasises that her ‘starting point is always the language of painting itself and how that relates to the subject matter’. Her characters are imaginary, rather than based on specific individuals. She constructs deliberately ambiguous scenes for them, encouraging us to project our own meaning on to the work.Gallery label, May 2019

false

1

https://media.tate.org.u…13/T13654_10.jpg

16784

painting oil paint canvas

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The Generosity

2,010

Tate

2010

CLEARED

6

support: 1800 × 2000 mm

accessioned work

Tate

Presented by <a href="/search?gid=999999780" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Tate Patrons</a> 2012

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[ "actions: postures and motions", "actions: processes and functions", "adults", "bending forward", "black", "clothing and personal items", "dressing / undressing", "ethnicity", "man", "objects", "people", "sock", "underwear" ]

null

false

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false

artwork

Oil paint on canvas

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118,098

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2,012

<a href="https://www.tate.org.uk/art/artists/lynette-yiadom-boakye-16784" aria-label="More by Lynette Yiadom-Boakye" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Lynette Yiadom-Boakye</a>

10pm Saturday

2,012

[]

Presented by Tate Members 2012

T13655

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7011781 7008136 7002445 7008591

Lynette Yiadom-Boakye

2,012

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1

https://media.tate.org.u…13/T13655_10.jpg

16784

painting oil paint canvas

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10pm Saturday

2,012

Tate

2012

CLEARED

6

support: 2000 × 1300 mm

accessioned work

Tate

Presented by <a href="/search?gid=999999973" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Tate Members</a> 2012

[]

[ "actions: postures and motions", "adults", "black", "ethnicity", "evening", "man", "people", "standing", "times of the day" ]

null

false

92 1325 179 504 195 270 75

false

artwork

Resin and steel

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118,099

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2,009

<a href="https://www.tate.org.uk/art/artists/david-musgrave-6241" aria-label="More by David Musgrave" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">David Musgrave</a>

Transparent Stick Figure

2,012

[]

Purchased 2012

T13656

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

7011781 7008136 7002445 7008591

David Musgrave

2,009

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Musgrave often works across different media and materials with similar subject matter: that of the stick figure or the simplest means of representing the human form. Made from modelling putty which was then cast in transparent resin and its parts joined together with steel fixings, the artist sees this work acting as ‘an eccentric lens. You see the wall, the distorted fixings and the effects of light more than an object.’ Transparent Stick Figure tests the limits of recognition by slowing down the identification of the human formGallery label, October 2013

false

1

https://media.tate.org.u…13/T13656_10.jpg

6241

sculpture resin steel

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Transparent Stick Figure

2,009

Tate

2009

CLEARED

8

object: 390 × 16 × 40 mm

accessioned work

Tate

Purchased 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n Transparent Stick Figure 2009 is a wall-mounted sculpture in resin by the English artist David Musgrave. The work is formed of two separate pieces: four curved sticks joined together to form the head of the figure; and a vertical stick branching into two at the bottom to represent the legs, with a small stick placed horizontally across the middle to represent the arms. \nLike Animal 1998 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/musgrave-animal-t13657\" title=\"View the details of this artwork\">T13657</a>), the work was made from modelling putty and cast in transparent resin; the two parts were then joined together with steel fixings. The stick elements were based on real sticks found by the artist, which he then remodelled to complicate the basic structure further. Musgrave outlines the importance of the evidence of construction in the finished work:\n\n<blockquote>I like to show everything I can about the construction of a work. I’ve used transparent materials quite often, partly because you can reveal things, but also because it makes clear the difference between seeing and existing. You infer the presence of a transparent object, you don’t properly perceive its body. I think of this work as an eccentric lens. You see the wall, the distorted fixings and the effects of light more than an object. (David Musgrave, email correspondence with Tate curator, Katharine Stout, 9 May 2012.)</blockquote>\nMusgrave’s sculptures, like his drawings, instil seemingly throwaway images with gravity, complexity and a subtle presence that invites the viewer to look at them more carefully. Transparent Stick Figure is exemplary of the way in which Musgrave tests the limits of recognition by slowing down the instantaneity of the process of identifying the human form. Discussing this work, he has commented: \n\n<blockquote>\nTransparent Stick Figure was the result of paring away certain things in my work. The stick figure is arguably the simplest form of representation, the barest signature of human presence, but it’s not ‘simple’ when you really examine it. There’s no standard for making one, and each has its own meanings and peculiarities. It represents the looker and the maker, but is its own thing ultimately. In my work it’s both conceptual notation and something very particular and formal, an occasion for invention. (David Musgrave, email correspondence with Tate curator, Katharine Stout, 9 May 2012.)</blockquote>\n\nTransparent Stick Figure was produced through a painstaking and deliberate process of sourcing sticks, remodelling them in putty and then casting them in resin, all of which undermines the casual, throwaway use of the stick figure symbol as a shorthand. This process is characteristic of Musgrave’s experimentation with the limits of figuration, evident in other works such as Plane with Inverted Figure 2007 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/musgrave-plane-with-inverted-figure-t12760\" title=\"View the details of this artwork\">T12760</a>) and Folded Plane No.2 2009 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/musgrave-folded-plane-no-2-t13223\" title=\"View the details of this artwork\">T13223</a>). \n\nFurther reading\n \nLiving Dust, exhibition catalogue, Norwich Gallery 2004. \nRecognition: Anna Barriball and David Musgrave, exhibition catalogue, Arnolfini, Bristol 2004. \nKatharine Stout May 2012 Arthur Goodwin February 2019\n</div>\n", "display_name": "Summary", "publication_date": "2019-09-03T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nMusgrave often works across different media and materials with similar subject matter: that of the stick figure or the simplest means of representing the human form. Made from modelling putty which was then cast in transparent resin and its parts joined together with steel fixings, the artist sees this work acting as ‘an eccentric lens. You see the wall, the distorted fixings and the effects of light more than an object.’ Transparent Stick Figure tests the limits of recognition by slowing down the identification of the human form\n</div>\n", "display_name": "Display caption", "publication_date": "2013-10-29T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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null

false

1832 451 221 189 224

false

artwork

Resin and enamel paint

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118,100

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1,998

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Animal

2,012

[]

Purchased 2012

T13657

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

7011781 7008136 7002445 7008591

David Musgrave

1,998

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Animal is a wall-based sculpture based on the imagined anatomical structure of Charles M Schulz’s cartoon character ‘Snoopy’. The main source for this sculpture was a line drawing Musgrave made of the same subject, in which he called upon the conventions of anatomical diagrams. Musgrave commented that this work ‘conflates recognition, abstraction, the imaginary and the concrete in a single form’.Gallery label, September 2016

false

1

https://media.tate.org.u…13/T13657_10.jpg

6241

sculpture resin enamel paint

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Animal

1,998

Tate

1998

CLEARED

8

object: 215 × 143 × 30 mm

accessioned work

Tate

Purchased 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nAnimal 1998 is a small wall-based sculpture in resin and enamel by the English artist David Musgrave. Resembling the kind of anatomical model found in biology classes and training hospitals, it imagines the bisected anatomy of a large-headed animal figure seen in profile. From the outline, the figure is recognisable as Snoopy, Charlie Brown’s pet dog in the long running American comic strip Peanuts by Charles M. Schulz. Musgrave painted the sculpture according to the conventions of anatomical models – the outline is rendered in a beige skin tone; the cavities of the mouth and nose are red; bones are white; and where the organs are close together, they are differentiated with more unnatural colours such as blue and green. \nMusgrave initially made Animal out of modelling putty, which he then cast in resin and painted. The main source for this sculpture was a line drawing he made of the same subject, in which he made use of the conventions of anatomical diagrams, showing the figure in profile and dissected to reveal the skeleton and internal organs. Musgrave wished to make a sculpture from the drawing in order to play on the conditions of anatomical models in the same way that his initial drawing related to medical diagrams. Animal is an early work that can be seen as a starting point for Musgrave’s ongoing interest in the anthropomorphic form. He has commented:\n\n<blockquote>I was more interested in producing a biomorphic but essentially abstract form than something that would make anatomical sense (it doesn’t). It’s an important work for me because it conflates recognition, abstraction, the imaginary and the concrete in a single form. I haven’t used such a culturally familiar source since and probably won’t, but the scale and the themes of this sculpture have remained absolutely central. (David Musgrave, email correspondence with Tate curator Katharine Stout, 9 May 2012.)</blockquote>\nAt face value the imagined anatomy – especially the huge brain within the outsize head, compared to the tiny organs in the abdomen – emphasises the abstraction employed by Schulz in his original drawing. The employment of the anatomical model, however, contrasts the levity of a timeless and much-loved cartoon character with the jarring suggestion of unsustainable deformity and medical illness. By trying to impose an unwelcome level of reality on a figure universally recognisable as a dog, Animal plays with the expectation of the viewer.\nMusgrave often makes a number of works using the same subject matter and much of his work is reductive in form while revealing the details of its construction. For example, Transparent Stick Figure 2009 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/turner-pavlova-t13565\" title=\"View the details of this artwork\">T13565</a>) is a wall-mounted sculpture that represents a basic stick figure made from transparent resin.\n\nFurther reading\n \nLiving Dust, exhibition catalogue, Norwich Gallery 2004. \nRecognition: Anna Barriball and David Musgrave, exhibition catalogue, Arnolfini, Bristol 2004. \nKatharine Stout May 2012 Arthur Goodwin January 2018\n</div>\n", "display_name": "Summary", "publication_date": "2019-09-03T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nAnimal is a wall-based sculpture based on the imagined anatomical structure of Charles M Schulz’s cartoon character ‘Snoopy’. The main source for this sculpture was a line drawing Musgrave made of the same subject, in which he called upon the conventions of anatomical diagrams. Musgrave commented that this work ‘conflates recognition, abstraction, the imaginary and the concrete in a single form’.\n</div>\n", "display_name": "Display caption", "publication_date": "2016-09-06T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "abstraction", "anatomy", "animals: features", "animals: mammals", "cartoon / comic strip", "characters", "dog - non-specific", "emotions, concepts and ideas", "figure", "formal qualities", "from recognisable sources", "humour", "literature and fiction", "skeleton", "Snoopy", "universal concepts" ]

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Oil paint on canvas on board

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118,111

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Pond at Garsington

2,013

[]

Presented by Tate Members 2012

T13665

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The Hon. Dorothy Brett

1,919

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Pond at Garsington depicts the pool at Garsington Manor near Oxford. Garsington was the country home of the society hostess and patron Lady Ottoline Morrell (1873–1938) and was a centre for socializing for those associated with the Bloomsbury Group, the house often appearing in paintings and photographs by artists who visited it. Brett spent extended periods at Garsington between 1916 and 1919. The view is from the corner so that the pond appears as a diamond shape within the rectangular composition. This diagonal framing of the view across the pond provides a counterpoint to the vertical forms of the cypress trees on a small island in the centre of the pool, and the short vertical strokes of paint with which the subject is depicted. This interest in the juxtaposition of bold simplified forms is similar to that evident in Brett’s earlier figure paintings such as War Widows 1916 (private collection) and the use of patches of bright green also heightens the palette beyond the naturalistic. The work is signed and dated 1919, and is likely to have been painted in the summer of 1919 as Brett left Garsington in September of that year.

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1

https://media.tate.org.u…13/T13665_10.jpg

809

painting oil paint canvas board

[ { "artistRoomsTour": false, "dateText": "10 February 2018 – 11 December 2018", "endDate": "2018-12-11", "exhibitionLegs": [ { "dateText": "10 February 2018 – 29 April 2018", "endDate": "2018-04-29", "id": 10562, "startDate": "2018-02-10", "venueName": "Tate St Ives (St Ives, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/stives/" }, { "dateText": "26 May 2018 – 16 September 2018", "endDate": "2018-09-16", "id": 11976, "startDate": "2018-05-26", "venueName": "Pallant House Gallery (Chichester, UK)", "venueWebsiteUrl": null }, { "dateText": "2 October 2018 – 11 December 2018", "endDate": "2018-12-11", "id": 11977, "startDate": "2018-10-02", "venueName": "Fitzwilliam Museum (Cambridge, UK)", "venueWebsiteUrl": "http://www.fitzmuseum.cam.ac.uk" } ], "id": 8718, "startDate": "2018-02-10", "title": "Virginia Woolf", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "26 May 2018 – 9 December 2018", "endDate": "2018-12-09", "exhibitionLegs": [ { "dateText": "26 May 2018 – 16 September 2018", "endDate": "2018-09-16", "id": 12028, "startDate": "2018-05-26", "venueName": "Pallant House Gallery (Chichester, UK)", "venueWebsiteUrl": null }, { "dateText": "2 October 2018 – 9 December 2018", "endDate": "2018-12-09", "id": 12068, "startDate": "2018-10-02", "venueName": "Fitzwilliam Museum (Cambridge, UK)", "venueWebsiteUrl": "http://www.fitzmuseum.cam.ac.uk" } ], "id": 9898, "startDate": "2018-05-26", "title": "Virginia Woolf", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "1 May 2024 – 30 September 2024", "endDate": "2024-09-30", "exhibitionLegs": [ { "dateText": "1 May 2024 – 30 September 2024", "endDate": "2024-09-30", "id": 15720, "startDate": "2024-05-01", "venueName": "Garden Museum (London, UK)", "venueWebsiteUrl": null } ], "id": 12908, "startDate": "2024-05-01", "title": "‘Three Women’: Gardens and the imagination in Virginia Woolf, Vita Sackville-West and Lady Ottoline Morrell", "type": "Loan-out" } ]

Pond at Garsington

1,919

Tate

1919

CLEARED

6

support: 409 × 530 mm frame: 468 × 565 × 37 mm

accessioned work

Tate

Presented by <a href="/search?gid=999999973" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Tate Members</a> 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nPond at Garsington depicts the pool at Garsington Manor near Oxford. Garsington was the country home of the society hostess and patron Lady Ottoline Morrell (1873–1938) and was a centre for socializing for those associated with the Bloomsbury Group, the house often appearing in paintings and photographs by artists who visited it. Brett spent extended periods at Garsington between 1916 and 1919. The view is from the corner so that the pond appears as a diamond shape within the rectangular composition. This diagonal framing of the view across the pond provides a counterpoint to the vertical forms of the cypress trees on a small island in the centre of the pool, and the short vertical strokes of paint with which the subject is depicted. This interest in the juxtaposition of bold simplified forms is similar to that evident in Brett’s earlier figure paintings such as War Widows 1916 (private collection) and the use of patches of bright green also heightens the palette beyond the naturalistic. The work is signed and dated 1919, and is likely to have been painted in the summer of 1919 as Brett left Garsington in September of that year.\nThe pond was evidently a place that had significance for the artist since her correspondence describes bathing at Garsington (see Hignett 1984, p.81), and a series of photographs of Lady Ottoline Morrell’s daughter and her friends dancing naked by the pond, now in the Metropolitan Museum, New York, were originally in Brett’s ownership. In August 1917 Brett and her close friend the painter Mark Gertler (1891–1939) were working together at Garsington and Gertler wrote: ‘Today I experimented in watercolours with Brett and discussed excitedly various problems of painting … it is a pity that the sun is not here because there is so much to paint around the pond’ (Gertler 1965, p.149). In the summer of 1919, when this work was painted, Gertler described an evening by the pond: ‘We walked round the pond by moonlight reading Verlaine in the melodramatic manner’ (Gertler 1965, p.175). Gertler made several paintings of the pond at Garsington between 1916 and 1919 (Government Art Collection and Leeds City Art Gallery), including a large canvas, The Bathers 1917–9 (private collection), which he described as ‘a good old-fashioned “Cézannish” bathing scene’ (Gertler 1965, p.136).\nIn its adoption of Paul Cézanne’s (1839–1906) technique of short vertical strokes of paint, Brett’s Pond at Garsington shows the impact on British landscape painting in the 1910s of the critic Roger Fry’s promotion of post-impressionism. Brett’s interest in Cézanne dates from at least April 1915 when Gertler described her recent trip to Paris: ‘She had not much to say about Paris except that she came across a good Cézanne book’ (Gertler 1965, p.90). In May 1917 the artist and critic Roger Fry (1866–1934) mounted the exhibition Omega Translations and Copies at the Omega Workshops in London’s Fitzroy Square. Fry was interested in the practice of copying works by the old masters both as a means of fully understanding their formal qualities, and as a way of producing a contemporary ‘translation’ of their ideas. This interest in reinterpretation was shared by fellow Bloomsbury Group artists Vanessa Bell (1879–1961) and Duncan Grant (1885–1978) who also contributed to the show, in which Gertler exhibited his translation of a Cézanne still life (see Anscombe 1981, pp.77–9).\nBrett’s The Pond at Garsington has interesting links with Bloomsbury ideas of translation in its rendering of a resonant location already depicted by Gertler, using a technique of paint application derived from Cézanne. Her work was also explicitly grouped with Bloomsbury artists in exhibitions playing on questions of attribution and influence. Fry included her work Asters (date and location unknown) in the Nameless Exhibition at the Grosvenor Gallery in 1921, for which he selected the ‘Modernists’ section alongside Charles Sims’s ‘Academics’ section and Henry Tonks’s ‘Intermediates’. Here artists’ works were exhibited without labels to allow viewers to confront the works directly without their judgement being affected by the artist’s name. Fry wrote to Bell: ‘Yes, I’ve put in both Brett and Carrington – quite respectable work and of course any of our lot are so much better than the best of the R.A.s’ (Roger Fry, Letters of Roger Fry, ed. by Denys Sutton, vol.2, London 1972, p.510). In the context of these exhibitions and the social networks facilitated by Garsington, Brett’s The Pond at Garsington can also be seen as representative of the ways in which social interaction, visual theory and artistic dialogues were interconnected in Bloomsbury circles.\n\nFurther reading\n Mark Gertler, Selected Letters, ed. by Noel Carrington, London 1965. Isabelle Anscombe, Omega and After: Bloomsbury and the Decorative Arts, London 1981. Sean Hignett, Brett: From Bloomsbury to New Mexico, London, Sydney, Auckland and Toronto 1984.\nEmma Chambers March 2012\n</div>\n", "display_name": "Summary", "publication_date": "2018-06-15T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "emotions, concepts and ideas", "England", "formal qualities", "Garsington, Garsington Manor", "gestural", "natural phenomena", "places", "pond", "reflection", "tree", "UK cities, towns and villages", "UK countries and regions", "water: inland" ]

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true

2803 20430 19508 70 20053 1731 1827

false

artwork

Pulped newspaper and pva on canvas, newspaper on cardboard

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118,112

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1,989

<a href="https://www.tate.org.uk/art/artists/amikam-toren-16792" aria-label="More by Amikam Toren" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Amikam Toren</a>

Times Thursday 20 July 1989

2,013

[]

Purchased 2012

T13666

{ "id": 6, "meta": { "type": "art.Classification" } }

7011781 7001371 1000953 1000119 1000004

Amikam Toren

1,989

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false

1

https://media.tate.org.u…13/T13666_10.jpg

16792

painting pulped newspaper pva canvas cardboard

[]

Of The Times, Thursday 20 July 1989

1,989

Tate

1989

CLEARED

6

support: 2350 × 2200 mm

accessioned work

Tate

Purchased 2012

[]

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

null

false

226 9663 185

false

artwork

Oil paint on canvas

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118,115

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1,991

<a href="https://www.tate.org.uk/art/artists/amikam-toren-16792" aria-label="More by Amikam Toren" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Amikam Toren</a>

Armchair Painting educating europe

2,013

[]

Purchased 2012

T13667

{ "id": 6, "meta": { "type": "art.Classification" } }

7011781 7001371 1000953 1000119 1000004

Amikam Toren

1,991

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1

https://media.tate.org.u…13/T13667_10.jpg

16792

painting oil paint canvas

[]

Armchair Painting - Untitled (educating europe)

1,991

Tate

1991

CLEARED

6

support: 400 × 505 mm

accessioned work

Tate

Purchased 2012

[]

[ "abstraction", "adults", "appropriation", "countries and continents", "defacement", "education", "education, science and learning", "emotions, concepts and ideas", "Europe", "fine arts and music", "formal qualities", "found object / readymade", "individuals: female", "non-representational", "objects", "painting", "people", "places", "portraits", "society", "text", "woman" ]

null

false

40621 11714 12609 149 17494 80 30029 20117 185 204 20114 445 167

false

artwork

Oil paint on canvas

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118,116

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2,006

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Armchair Painting fact matter is

2,013

[]

Purchased 2012

T13668

{ "id": 6, "meta": { "type": "art.Classification" } }

7011781 7001371 1000953 1000119 1000004

Amikam Toren

2,006

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false

1

https://media.tate.org.u…13/T13668_10.jpg

16792

painting oil paint canvas

[]

Armchair Painting - Untitled (the fact of the matter is)

2,006

Tate

2006

CLEARED

6

support: 460 × 370 mm

accessioned work

Tate

Purchased 2012

[]

[ "abstraction", "appropriation", "bouquet", "caption", "emotions, concepts and ideas", "fine arts and music", "formal qualities", "found object / readymade", "inscriptions", "non-representational", "objects", "painting", "plants and flowers", "rose", "symbols and personifications", "text" ]

null

false

40621 3007 6548 80 30029 166 185 204 72 1283 445

false

artwork

Oil paint on canvas

[ { "append_role_to_name": false, "date": "born 1945", "fc": "Amikam Toren", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/amikam-toren-16792" } ]

118,117

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,991

<a href="https://www.tate.org.uk/art/artists/amikam-toren-16792" aria-label="More by Amikam Toren" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Amikam Toren</a>

Armchair Painting wallbound

2,013

[]

Purchased 2012

T13669

{ "id": 6, "meta": { "type": "art.Classification" } }

7011781 7001371 1000953 1000119 1000004

Amikam Toren

1,991

[]

Armchair Painting: Untitled shows a landscape, complete with snow-capped mountains, into which the word ‘wallbound’ has been cut, puncturing the surface of the canvas, and is one of an ongoing series of works that began in 1989 collectively know as the Armchair Paintings. Toren buys ‘thrift-store’ paintings and then cuts the text into the picture plane. The language is taken from different sources: graffiti, signage or overheard phrases, and the dissonant combination of text and image creates new meaning. These works are what Toren refers to as ‘adjusted readymades’ – found objects he alters to reconstitute meaning.Gallery label, October 2013

false

1

https://media.tate.org.u…13/T13669_10.jpg

16792

painting oil paint canvas

[]

Armchair Painting - Untitled (wallbound)

1,991

Tate

1991

CLEARED

6

support: 280 × 430 mm

accessioned work

Tate

Purchased 2012

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[]

null

false

artwork

Ink, transfer lettering and household paint on board

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118,134

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2,007

<a href="https://www.tate.org.uk/art/artists/fiona-banner-2687" aria-label="More by Fiona Banner" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Fiona Banner</a>

Spilt Nude

2,013

[]

Presented by Tate Members 2012

T13681

{ "id": 7, "meta": { "type": "art.Classification" } }

11857

7011781 7002445 7008591

Fiona Banner

2,007

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Spilt Nude is a written description of a naked woman. Banner believes, ‘we always come back to the issue of describing the human form. It’s a way of describing ourselves – an attempt to stall time long enough to make some kind of reflection, not of the stuff around, but of us, the flesh.’ Banner often employs text as a visual medium and is best known for her ‘wordscapes’. Her work explores how experiences are translated into language and the ways in which actual or imagined events are fictionalised and mythologised.Gallery label, December 2020

false

1

https://media.tate.org.u…13/T13681_10.jpg

2687

relief ink transfer lettering household paint board

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Spilt Nude

2,007

Tate

2007

CLEARED

7

unconfirmed: 2090 × 1340 mm frame:2197 × 1550 × 64 mm

accessioned work

Tate

Presented by <a href="/search?gid=999999973" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Tate Members</a> 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\n<blockquote>\nSpilt Nude 2007 is a large black and white written record of the image of a female nude as described in the artist’s own words. The work’s primary medium is indian ink on a gesso background. The support is plasterboard which was cut down to size once the image was completed. The way in which the text is laid out, written in staggered blocks which increase in width as they progress down the painting, reinforces a strong sculptural presence in the work. The density of the black and white lettering and discrepancies between line widths, combined with the overall scale of the piece which exceeds human height, suggests a relationship between the image of the nude and the artist or viewer’s body. The spatial arrangement of the lettering, with white over receding black, suggests a shadow or space a person might inhabit. The title of the work refers to the expressive and experimental nature of the piece with its drips and washes of ink. It also refers to the elusive nature of description, the limiting as well as the communicating force of language and Banner’s interest in the harnessing of uncontained forces that spill out. The work can be propped against the wall for display or hung in a traditional fashion. This flexibility of display highlights the ways in which the nude can be addressed as person, object or painting.</blockquote>\n<blockquote>Fiona Banner’s practice spans drawing, painting, sculpture, installation, performance and publishing. She often employs text as a visual medium through which to explore the way in which experience is translated into language. Banner is best known for her ‘wordscapes’, highly subjective written accounts that often retell entire Hollywood feature films or sequences of events. These personal transcriptions explore the ways in which actual or imagined events are fictionalised and mythologised. For example, Top Gun 1994 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/banner-top-gun-t13203\" title=\"View the details of this artwork\">T13203</a>) is a billboard-sized unedited written account of the action in the movie of the same name starring Tom Cruise, while Break Point 1998 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/banner-break-point-t07501\" title=\"View the details of this artwork\">T07501</a>) is based on the chase scene in Kathryn Bigelow’s cult film Point Break (1991).</blockquote>\n<blockquote>Since 2007 Banner has produced a body of work around the female nude and life drawing. This developed out of works she made using pornographic films, such as Arsewoman in Wonderland 2002, and the desire to investigate what the body can communicate outside of any narrative context. She has explained, ‘I thought it would be interesting to strip off all the narrative and the mediation of the film image, and just look at the figure. First, I did some work with a striptease artist where I described her act verbally, then stripped the context back further so all I was left with was the nude.’ (Fiona Banner, ‘A Sort of Portrait’, in Banner 2009, p.12.) The first nude performance, at the Port Eliot Literacy Festival in 2006, was an experiment in front of an audience between the model and the artist. Banner set up a life-studio on stage and verbally attempted to describe the model in front of her. Since then, working with models and co-performers Marianne Hyatt, Ame Henderson and Samantha Morton, she has made a combination of works in the privacy of the studio and with observers. With both approaches Banner transcribes the object of her looking in a manner which in part resembles the processes that would be used for traditional figurative drawing, but with an end result in written rather than pictorial form. She has said that these works are an attempt to describe something through close observation without the device of editing.</blockquote>\n\n<blockquote>Banner is interested in the tradition of the nude and the issues that surround its depiction, such as questions about gender and the history of description per se. While Banner got involved in looking at and describing the human form through watching war films, life drawing instruction has historically been a key element of most fine art studies. Banner is fascinated with how within the life class there is often ‘a frisson of subdued sexuality – an excitement about how to formalise an act that would normally be very intimate and very erotic: looking for a long time, very intensely, at a naked person.’ (Ibid.) She has also said: ‘The performances expose these layers of voyeurism – my voyeurism looking at the model, and the audience’s voyeurism looking at me making the art, and looking at the model. But then the very way we look at all art, the way we treat artworks, the way we present them, is itself erotic. There is always that voyeuristic distance and rarification.’(Ibid.)</blockquote>\n\n<blockquote>\nSpilt Nude 2007 highlights Banner’s ongoing interest in not only the act of observation, but also the process of translation and the space between the subject and the object. Furthermore this verbal encounter reflects her interest in the act of reading which draws together the processes of looking and meaning. She has commented:</blockquote>\n\n<blockquote>We always come back to the issue of describing the human form. It’s a way of describing ourselves – an attempt to stall time long enough to make some kind of reflection, not of the stuff around, but of us, the flesh. Every life drawing, good or bad, is like a gravestone, an attempt to make permanent that which is always passing, an attempt to seize what we can’t hold.</blockquote>\n<blockquote>(Quoted in ‘Art Stripped Bare – Fiona Banner on the Nude’, The Guardian Online, Wednesday 8 April 2009, accessed 27 May 2012.)</blockquote>\n\n<blockquote>\nFurther reading\n</blockquote>\n\n<blockquote>\nFiona Banner, exhibition catalogue, Dundee Contemporary Arts 2002.</blockquote>\n<blockquote>Fiona Banner, Performance Nude, London 2009.</blockquote>\n<blockquote>Lizzie Carey-Thomas and Dave Hickey, Harrier and Jaguar, exhibition catalogue, Tate Britain, London 2010.</blockquote>\nClarrie Wallis April 2012\n</div>\n", "display_name": "Summary", "publication_date": "2023-07-17T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nSpilt Nude is a written description of a naked woman. 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[ "abstraction", "defacement", "emotions, concepts and ideas", "female", "figure", "formal qualities", "from recognisable sources", "monochromatic", "non-representational", "nudes", "people", "text" ]

null

false

11714 519 221 189 9663 185 98 445

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artwork

Glass, glue, wooden shelf and ink on paper

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118,135

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<a href="https://www.tate.org.uk/art/artists/amikam-toren-16792" aria-label="More by Amikam Toren" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Amikam Toren</a>

Simple Fractions

2,013

[]

Purchased 2012

T13682

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7011781 7001371 1000953 1000119 1000004

Amikam Toren

1,975

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Simple Fractions 1975 comprises two elements: a glass milk bottle that appears to have been smashed and glued back together, which sits on a small wooden ledge fixed to the wall, and a framed line drawing. The broken milk bottle was found by the artist on a London street. Toren gathered the shards of glass and, applying an archaeological approach to this most humble of objects, carefully reassembled it. In so doing, he was essentially re-making a readymade object. Toren used black glue to restore the milk bottle, in a practice at odds with the customary desire of the conservator or archaeologist to render such repairs invisible. By contrast, the dark lines this creates emphasize the joins between each fragment, forever pointing to the object’s former shattered state. The line drawing that is shown alongside the bottle is a painstaking copy of the lines of black glue that criss-cross the bottle. The historian Richard Dyer has written, ‘it is this lyrical meander that Toren has drawn with infinite care, as if he were mapping the various territories of some unknown country.’ (Dyer 2005, p.155.) Dyer also points out that this ‘“museumification of the utilitarian”, this transformation of the lowly object into high art … will be a recurring theme in Toren’s art’ (ibid.).

false

1

https://media.tate.org.u…13/T13682_10.jpg

16792

sculpture glass glue wooden shelf ink paper

[]

Simple Fractions

1,975

Tate

1975

CLEARED

8

Overall display dimensions variable

accessioned work

Tate

Purchased 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\n<blockquote>\nSimple Fractions 1975 comprises two elements: a glass milk bottle that appears to have been smashed and glued back together, which sits on a small wooden ledge fixed to the wall, and a framed line drawing. The broken milk bottle was found by the artist on a London street. Toren gathered the shards of glass and, applying an archaeological approach to this most humble of objects, carefully reassembled it. In so doing, he was essentially re-making a readymade object. Toren used black glue to restore the milk bottle, in a practice at odds with the customary desire of the conservator or archaeologist to render such repairs invisible. By contrast, the dark lines this creates emphasize the joins between each fragment, forever pointing to the object’s former shattered state. The line drawing that is shown alongside the bottle is a painstaking copy of the lines of black glue that criss-cross the bottle. The historian Richard Dyer has written, ‘it is this lyrical meander that Toren has drawn with infinite care, as if he were mapping the various territories of some unknown country.’ (Dyer 2005, p.155.) Dyer also points out that this ‘“museumification of the utilitarian”, this transformation of the lowly object into high art … will be a recurring theme in Toren’s art’ (ibid.).</blockquote>\n\n<blockquote>The relationship between destruction and the creative act is central to Toren’s practice. Since the 1970s he has been making work that explores the relation between form and content, object and representation by examining the links between destruction and reconstruction. Thus, in his series ‘Of the Times’, he pulps entire copies of The Times newspaper and uses the resulting paste to make paintings (see, for example, Thursday, July 20, 1989 1989 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/toren-of-the-times-thursday-20-july-1989-t13666\" title=\"View the details of this artwork\">T13666</a>]); or in his series of ‘Armchair Paintings’, he cuts words and phrases into the surface of paintings found in junk shops (see, for example, Armchair Painting: Untitled 2006 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/toren-armchair-painting-untitled-the-fact-of-the-matter-is-t13668\" title=\"View the details of this artwork\">T13668</a>]). In so doing, he has pursued an extended interrogation of the relationship between sculpture and painting.</blockquote>\n\n<blockquote>\nFurther reading\n</blockquote>\n<blockquote>Richard Dyer, ‘Ceci n’est pas un tableau: The Work of Amikam Toren’, in Third Text, vol.19, issue 2, March 2005, p.155.</blockquote>\nHelen Delaney May 2012\n</div>\n", "display_name": "Summary", "publication_date": "2023-07-17T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "abstraction", "bottle", "from recognisable sources", "inscriptions", "man-made", "map", "objects", "symbols and personifications", "vessels and containers" ]

null

false

555 189 166 222 9331 170

false

artwork

Wood, tin-plate, copper, steel, fluorescent light, perspex and oil paint

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118,138

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Poet and Beloved King

2,013

[]

Purchased with funds provided by Edward and Maryam Eisler 2012

T13684

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

22014

7013135 7002157 7002004 7000231 1000004

Parviz Tanavoli

1,964

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Motifs taken from Iranian religious folk art recur in Tanavoli’s work, especially the saqqakhaneh, a sacred fountain protected by metal grills. Here he reappropriates the grill, extracted from its original function and applied to robot-like figures made out of brightly coloured, pop-inspired materials. The two figures relate to characters from a love story which forms part of Shahnameh (977–1010), the national epic of Iran. Shirin, a princess, and Farhad, a stone cutter given the impossible task of carving a passage through Mount Bisotoon to win Shirin’s hand.Gallery label, March 2019

false

1

https://media.tate.org.u…13/T13684_10.jpg

15957

sculpture wood tin-plate copper steel fluorescent light perspex oil paint

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The Poet and the Beloved of the King

1,964

Tate

1964–6

CLEARED

8

object: 1897 × 1080 × 1070 mm

accessioned work

Tate

Purchased with funds provided by Edward and Maryam Eisler 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nThe Poet and the Beloved of the King 1964–6 is a large-scale, brightly coloured sculpture made of various cubic, cylindrical and abstracted elements that suggest two figures, one larger than the other. The smaller figure in front displays two yellow round circles on its upper half, marked with the word ‘Limou’ (Lemon) on the right-hand side. In Farsi the word lemon is used colloquially as a reference to breasts and the lemon is a strong sexual reference in many of Tanavoli’s works. A painted red phallic arrow is another dominant feature of this figure. It points upwards and is embraced by the suggested hands of the sculpture, which consist of two thin horn-shaped pieces of metal painted yellow. Their shape may allude to the word ‘Aahoo’ (‘Deer’) written on the back of the larger figure. At the head of the smaller figure a yellow circle of Plexiglas contains the sentence ‘Ya bolbol, arabi ya raghayash’ (‘Oh Arabian nightingale, oh his veins’). The larger figure is broader and comprised of more rectangular shapes. It incorporates two pieces of lattice-work (a typical feature of Tanavoli’s work), one of which can be seen in the upper half of the figure and the other in the lower part, which contains the artist’s name ‘Parviz’ and the word ‘Arab’. On the back of the sculpture – in addition to ‘Aahoo’ or ‘Deer’ – the word ‘Bozorg’ (‘Big’) can be read. The component representing the figure’s head displays a sentence written in Farsi: ‘Aya kassi darvaze kassi ra baz mikonad’ (‘Does anyone open anyone’s gate’). The sculpture was originally designed to be plugged into an electricity supply so that it moved periodically. However, this feature is no longer working and the artist is content with it remaining a static piece.\nAn important starting point for Tanavoli’s practice as a sculptor is the love story of Shirin and Farhad, written by Hakim Abol Qasem Ferdowsi Tousi (935–c.1020) as part of Shahnameh (977–1010), the national epic of Iran. In the story, the stonecutter Farhad falls madly in love with the Armenian princess Shirin. The King, Khosrow Parviz, greatly concerned about his daughter, decides to give Farhad the impossible task of carving a passage through Mount Bisotoon if he wants to be able to take Shirin’s hand. When Farhad seems to be succeeding at the task, the King sends him a false message informing him that Shirin has died. In deep distress, Farhad falls from the mountain to his death. According to Tanavoli, this event marked the end of sculpture in Iran, as Farhad was the last great sculptor in the country before the Islamic prohibition of figurative art discouraged any representational work. In The Poet and the Beloved of the King the lemons on the smaller figure refer specifically to the breasts of Shirin and, since Farhad had no means of being physically with Shirin, become a sexual replacement. The figure of Farhad and the theme of lovers recur throughout Tanavoli’s work.\nArt historian and curator Fereshteh Daftari has written about The Poet and the Beloved of the King and its local, everyday materials:\n\n<blockquote>Building his works incrementally, whether vertically or horizontally, he developed a vocabulary of welded faucets, tubes, knobs, grillwork and the keys and locks he collected in small towns and local bazaars. Fused together, these agglomerations ultimately yield the image of a gendered figure or generic couple primitive and regal. Neither inhabitant of the unconscious, as in the work of Max Ernst, nor warriors of the machine age, these creatures belong to a preindustrial era. (Fereshteh Daftari, ‘Another Modernism: An Iranian Perspective’, in Balaghi and Gumpert 2002, p.76.)</blockquote>\nTanavoli returned to Iran from Europe in 1960 when the art scene was dominated by painting. While this fashion opened fertile ground for him as a sculptor, he had little chance to develop the Western figurative tradition that he had been exposed to while living in Italy. Iran reflected a fear of idolatry and this urged Tanavoli to look at his own cultural heritage. He used mostly found objects, carefully chosen to create abstracted figures and compositions. Alongside his art practice, he collected locks, talismanic objects, posters with religious inscriptions and carpets. His studio was situated in the south of Tehran surrounded by pottery workshops, blacksmiths, foundries and welders’ shops, and this environment was a major inspiration for his practice.\nTanavoli is a key member of the Saqqakhane movement, a term first used in 1962 by the Iranian art critic Karim Emami to describe a group of artists, also labelled ‘Spiritual Pop artists’ or ‘Neo-Traditionalist artists’, who integrated votive Shiite folk art into their practice. The movement began when a number of artists, including Charles Hossein Zenderoudi and Tanavoli (who had returned from studying in Paris and Milan, respectively) started to adapt traditional Iranian motifs and themes into their work as a way to create a bridge between tradition and modernity. Tanavoli was also the founder of the Atelier Kaboud (1959–60), a gallery and gathering place for poets, artists, filmmakers and architects, which was, according to the historian Hamid Keshmirshekan, a catalyst for the development of the Saqqakhane movement.\n\nFurther reading\n Shiva Balaghi and Lynn Gumpert (eds.), Picturing Iran: Art, Society and Revolution, London and New York 2002. Jessica Morgan and Flavia Frigeri (eds.), The World Goes Pop, exhibition catalogue, Tate Modern, London 2015.\nLeyla Fakhr August 2011\n</div>\n", "display_name": "Summary", "publication_date": "2016-06-08T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nMotifs taken from Iranian religious folk art recur in Tanavoli’s work, especially the saqqakhaneh, a sacred fountain protected by metal grills. Here he reappropriates the grill, extracted from its original function and applied to robot-like figures made out of brightly coloured, pop-inspired materials. The two figures relate to characters from a love story which forms part of Shahnameh (977–1010), the national epic of Iran. Shirin, a princess, and Farhad, a stone cutter given the impossible task of carving a passage through Mount Bisotoon to win Shirin’s hand.\n</div>\n", "display_name": "Display caption", "publication_date": "2019-03-07T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "abstraction", "actions: postures and motions", "adults", "figure", "from recognisable sources", "history", "Islam, Shi’a", "king", "literary", "man", "objects", "people", "poet", "politics and society", "politics: Shah of Iran, reign, 1941-1979", "religion and belief", "religions", "robot", "royalty and social rank", "standing", "toys and models", "work and occupations" ]

null

false

92 221 189 22013 870 126 195 1181 38 22015 137 6041 869 270 89

false

artwork

Wood, metal, feather, glass, plastic, paint and light

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118,140

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1,966

<a href="https://www.tate.org.uk/art/artists/parviz-tanavoli-15957" aria-label="More by Parviz Tanavoli" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Parviz Tanavoli</a>

Cage cage cage

2,013

[]

Purchased with funds provided by Maryam and Edward Eisler 2012

T13685

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22014

7013135 7002157 7002004 7000231 1000004

Parviz Tanavoli

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This work was made after Tanavoli returned to Iran from America, where he was greatly inspired by pop art. The bird inside or outside the cage can be interpreted in various ways, as a political metaphor or a literal representation of the Iranian custom of placing birds in small cages throughout bazaars, creating a pleasant atmosphere in a hectic market place. Tanavoli’s work explores mass consumer culture in the specific context of Iran, something that other artists in the country had not previously addressed.Gallery label, February 2016

false

1

https://media.tate.org.u…13/T13685_10.jpg

15957

sculpture wood metal feather glass plastic paint light

[ { "artistRoomsTour": false, "dateText": "4 October 2019 – 1 June 2020", "endDate": "2020-06-01", "exhibitionLegs": [ { "dateText": "4 October 2019 – 19 January 2020", "endDate": "2020-01-19", "id": 13298, "startDate": "2019-10-04", "venueName": "Barbican Art Gallery (London, UK)", "venueWebsiteUrl": null }, { "dateText": "14 February 2020 – 1 June 2020", "endDate": "2020-06-01", "id": 13299, "startDate": "2020-02-14", "venueName": "Österreichische Galerie Belvedere (Vienna, Austria)", "venueWebsiteUrl": null } ], "id": 10952, "startDate": "2019-10-04", "title": "Into the Night: Cabarets and Clubs in Modern Art", "type": "Loan-out" } ]

Cage, cage, cage

1,966

Tate

1966 (repaired 2009)

CLEARED

8

object: 1095 × 712 × 225 mm

accessioned work

Tate

Purchased with funds provided by Maryam and Edward Eisler 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nCage, cage, cage is a mixed media wall-mounted work that depicts one small white bird and two different sized cages against a dark background. At the top of the work, the larger cage has a blue grid façade behind which illuminated fake grass can be seen. The bird is placed outside the top left corner of the second, smaller cage, which is an actual bird cage attached to the backboard. Cage, cage, cage was made in 1966 after Tanavoli returned from America, where he was greatly inspired by the pop art movement.\nTanavoli has often spoken about the influence of pop art on his work, primarily in relation to the vibrant colour choice of his earlier sculptural pieces. When he returned from the United States he decided to make a series of works using ‘aftabehs’, the watering cans used in the Iranian washroom. He exhibited these at the Iran America Society in Tehran in 1973, but was quickly forced to shut down the exhibition, as it caused controversy due to the association of these watering cans with lavatories. Tanavoli decided to change direction and conform to the tastes of the time by exploring the common themes that many artists of his generation were portraying. This imagery included the nightingale and flowers, which together represent love and relationships in Iranian culture and are the subjects of carpets, paintings and tapestries, as well as much Persian poetry. The theme of the bird is a repeated subject in Tanavoli’s work. The bird inside or outside of the cage can be interpreted in various ways, either as a political metaphor for social and cultural repression, or as a literal representation of the caged birds in Iranian bazaars. Aesthetically Tanavoli’s work explores mass consumer culture in the specific context of Iran, something that other artists in the country had rarely addressed.\nThe bird is also a reference to the figure of the doomed lover Farhad, who features in Tanavoli’s sculpture The Poet and the Beloved of the King 1964–6 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/tanavoli-the-poet-and-the-beloved-of-the-king-t13684\" title=\"View the details of this artwork\">T13684</a>). Tanavoli was inspired by the love story of Shirin and Farhad, written by Hakim Abol Qasem Ferdowsi Tousi (935–c.1020) as part of Shahnameh (977–1010), the national epic of Iran. In the story, the stonecutter Farhad falls madly in love with the Armenian princess Shirin. The King, Khosrow Parviz, greatly concerned about his daughter, decides to give Farhad the impossible task of carving a passage through Mount Bisotoon if he wants to be able to hold Shirin’s hand. When Farhad seems to be succeeding at the task, the King sends him a false message informing him that Shirin has died. In deep distress, Farhad falls from the mountain to his death. According to Tanavoli, this event marked the end of sculpture in Iran, as Farhad was the last great sculptor in the country before the Islamic prohibition of figurative art discouraged any representational work.\n\nFurther reading\n Shiva Balaghi and Lynn Gumpert (eds.), Picturing Iran: Art, Society and Revolution, London and New York 2002. Jessica Morgan and Flavia Frigeri (eds.), The World Goes Pop, exhibition catalogue, Tate Modern, London 2015.\nLeyla Fakhr August 2011\n</div>\n", "display_name": "Summary", "publication_date": "2018-02-01T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThis work was made after Tanavoli returned to Iran from America, where he was greatly inspired by pop art. The bird inside or outside the cage can be interpreted in various ways, as a political metaphor or a literal representation of the Iranian custom of placing birds in small cages throughout bazaars, creating a pleasant atmosphere in a hectic market place. Tanavoli’s work explores mass consumer culture in the specific context of Iran, something that other artists in the country had not previously addressed.\n</div>\n", "display_name": "Display caption", "publication_date": "2016-02-10T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "abstract concepts", "animals: birds", "architecture", "bird - non-specific", "cage", "confinement - birdcage", "crime and punishment", "features", "grass", "history", "imprisonment", "Islam, Shi’a", "martyr", "objects", "plants and flowers", "politics and society", "politics: Shah of Iran, reign, 1941-1979", "prison", "public and municipal", "religion and belief", "religions", "society", "symbols and personifications", "universal religious imagery", "vessels and containers", "window" ]

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false

1030 62 538 6849 12761 147 17 755 2206 22013 5739 72 38 22015 6338 24 137 5731 170 529

false

artwork

Wool

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118,146

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1,975

<a href="https://www.tate.org.uk/art/artists/parviz-tanavoli-15957" aria-label="More by Parviz Tanavoli" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Parviz Tanavoli</a>

Disciples Sheikh Sanan

2,013

[]

Purchased with funds provided by the Middle East North Africa Acquisitions Committee 2012

T13690

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7013135 7002157 7002004 7000231 1000004

Parviz Tanavoli

1,975

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Tanavoli, a pioneering figure in contemporary Iranian art, incorporated traditional techniques and subjects within a resolutely modern visual language. As well as scenes from Persian love poetry, he also reinterpreted icons found in Shiite folk art, such as the cage, the lock and the bird, using geometric forms. While he was studying art in Tehran in the mid-1950s, the Iranian government’s cultural policy was opening to western practices, at the same time as encouraging the development of national and traditional arts. In the 1960s he played a leading role in the Iranian avant-garde movement, the Saqqakhaneh School, which drew on popular culture.Gallery label, February 2016

false

1

https://media.tate.org.u…13/T13690_10.jpg

15957

sculpture wool

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Disciples of Sheikh San’an

1,975

Tate

1975

CLEARED

8

object: 2060 × 1550 × 12 mm

accessioned work

Tate

Purchased with funds provided by the Middle East North Africa Acquisitions Committee 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nDisciples of Sheikh San’an 1975 is a woven wall hanging by the Iranian artist Parviz Tanavoli. It depicts a stylised architectural scene, in which a number of tall, narrow towers in orange, white, green and red sit flush together on a neutral background. In Disciples of Sheikh San’an Tanavoli refers to the poems and stories of The Conference of Birds, written by Faridoddin Attar Neyshabouri (1119–1189). Much of Tanavoli’s work is based on Iranian culture, including mysticism and religious stories. In the story referred to here, the fictitious character Sheikh San’an falls in love with a Christian girl, neglecting his religious duties. Through the prayers of his disciples he returns to his initial beliefs. There are two dominant symbols in this work, which characterise Tanavoli’s practice: the yellow caged bird and the two lit candles, which allude to religious prayers.\nTanavoli produced a number of silkscreen prints which he then had woven as carpets or hangings using traditional methods. Tanavoli made the silkscreens first and later turned them into carpets by sending them to different weavers across the country. The transformation of the modernist prints into carpets can be seen as an ongoing investigation into the dichotomy between tradition and modernity. This can be observed in the compositions and colour schemes of the carpets, which vary slightly to the prints as the carpet weavers were given the liberty to change the designs according to their own artistic judgement. While the prints and carpets are all works in their own right, the artist’s preference is for them to be shown together in pairs.\nThe compositions of the prints comprise an array of shapes, forms, emblems and symbols that are reconfigured to depict abstracted imagery and fragmented figures. These mostly geometric forms are extracted from carpet designs, or from Shiite folk art. Tanavoli is said to have one of the largest collections of carpets and artefacts from his home country. He has studied the craft of carpet-making, its rich visuals and its literature, in depth, and his work as an artist is closely bound up with his work as a researcher. The motifs and iconography in his work often repeat themselves within his paintings, sculptures or prints. One such recurring motif, developed over a long period of time, is the lock or padlock, which he collects. He has said that the unique and finely crafted designs of Iranian locks have offered him great ‘sculptural’ lessons and they feature in many of his compositions (see Firouzeh Mirrazavi, ‘Parviz Tanavoli: Half a Century of Art in US Museum’, Iran View, 8 February 2015, <a href=\"http://www.iranreview.org/content/Documents/Parviz_Tanavoli_Poet_in_Love.htm\">http://www.iranreview.org/content/Documents/Parviz_Tanavoli_Poet_in_Love.htm</a>, accessed 8 June 2016).\nTanavoli is a key member of the Saqqakhane movement, a term first used in 1962 by the Iranian art critic Karim Emami to describe a group of artists, also labelled ‘Spiritual Pop artists’ or ‘Neo-Traditionalist artists’, who integrated votive Shiite folk art into their practice. The movement began when a number of artists, including Charles Hossein Zenderoudi and Tanavoli (who had returned from studying in Paris and Milan, respectively) started to adapt traditional Iranian motifs and themes into their work as a way to create a bridge between tradition and modernity. Tanavoli was also the founder of the Atelier Kaboud (1959–60), a gallery and gathering place for poets, artists, filmmakers and architects, which was, according to the historian Hamid Keshmirshekan, a catalyst for the development of the Saqqakhane movement.\nTanavoli returned to Iran from Europe in 1960 when the art scene was dominated by painting. While this fashion opened a fertile ground for him as a sculptor, he had little chance to develop the Western figurative tradition that he had been exposed to while living in Italy. Iran reflected a fear of idolatry and this urged Tanavoli to look at his own cultural heritage. He used mostly found objects, carefully chosen to create abstracted figures and compositions. Alongside his art practice, he collected locks, talismanic objects, posters with religious inscriptions and carpets. His studio was situated in the south of Tehran, surrounded by pottery workshops, blacksmiths, foundries and welders’ shops, and this environment was a major inspiration for his practice.\n\nFurther reading\n Shiva Balaghi and Lynn Gumpert (eds.), Picturing Iran: Art, Society and Revolution, London and New York 2002.\nLeyla Fakhr August 2011\n</div>\n", "display_name": "Summary", "publication_date": "2016-06-08T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nTanavoli, a pioneering figure in contemporary Iranian art, incorporated traditional techniques and subjects within a resolutely modern visual language. As well as scenes from Persian love poetry, he also reinterpreted icons found in Shiite folk art, such as the cage, the lock and the bird, using geometric forms. While he was studying art in Tehran in the mid-1950s, the Iranian government’s cultural policy was opening to western practices, at the same time as encouraging the development of national and traditional arts. In the 1960s he played a leading role in the Iranian avant-garde movement, the Saqqakhaneh School, which drew on popular culture.\n</div>\n", "display_name": "Display caption", "publication_date": "2016-02-10T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "abstraction", "adults", "Arabic text", "architecture", "Attar, Farid al-Din, Mantiq al-tayr", "characters", "cultural identity", "disciple", "features", "figure", "figure", "from recognisable sources", "inscriptions", "Iranian folklore", "lifestyle and culture", "literature and fiction", "literature (not Shakespeare)", "man-made", "people", "religion and belief", "Shaikh San’an", "society", "symbols and personifications", "tales, legends and traditional", "tower", "townscape", "townscapes / man-made features", "universal religious imagery" ]

null

false

12832 38182 716 12833 38181 17 451 221 189 166 38184 58 222 38183 57 1065 983 5731

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artwork

15 unglazed ceramic forms

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118,153

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2,008

<a href="https://www.tate.org.uk/art/artists/nicholas-pope-1789" aria-label="More by Nicholas Pope" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Nicholas Pope</a>

Liar Liar

2,013

[]

Purchased 2012

T13693

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

7008653 7001923 7001828 7000490 1000006

Nicholas Pope

2,008

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Each of the 15 upright simplified totemic forms that make up Liar Liar has been constructed from fired unglazed ceramic. The simple forms of each figure – a bulbous footing and waist, and a hooded head that creates a circle of dark shadow – lends a particular character to each totem. The work’s title is equally suggestive of a schoolyard taunt and a broader concern with questions of belief, especially when raised in relation to artifice or fraud through artistic creativity. The hooded element of each of the forms suggests that something is being hidden away.Gallery label, September 2016

false

1

https://media.tate.org.u…13/T13693_10.jpg

1789

sculpture 15 unglazed ceramic forms

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Liar Liar

2,008

Tate

2008–9

CLEARED

8

Overall display dimensions variable

accessioned work

Tate

Purchased 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nLiar Liar 2008–9 comprises fifteen upright totemic forms constructed from unglazed fired ceramic. As with all of Nicholas Pope’s ceramic vessel works, each form is made using the coil technique and is then fired to earthenware at about 900°C. The white clay body that Pope has used resembles a white porcelain effect, without the shrinkage and distortion of porcelain. Each standing element is constructed in two parts that have been fitted together. The simple forms of each figure – a bulbous foot area and waist, as well as hooded heads that create a circle of dark shadow – lend each totem, especially when gathered together, a quizzical air.\nFollowing a visit to Tanzania in 1982, two years after he represented Britain at the Venice Biennale, Pope contracted a form of viral encephalitis that went undiagnosed for several years until the ensuing illness and its repercussions led him to stop working between 1987 and 1992; he gradually started to work again after 1992. In brief moments of therapeutic activity Pope began working in clay, and it was in small and hesitant pieces of coloured porcelain that he first worked on the ideas which would emerge as his conception of ‘The Oratory of Heavenly Space’, an imaginary space housing groups of sculptures that convey specific cycles or ideas concerned with religious belief. Pope’s purpose in taking belief as his subject, at a time of recovery from a life-changing illness, was not solely directed at questions of faith in a strictly religious sense, but was also related to his own sense of artistic self-belief. Liar Liar, as with much of his work after 1992, is still demonstrably related in form to his earlier work; Big Hoos 1982 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/pope-big-hoos-t03536\" title=\"View the details of this artwork\">T03536</a>), for instance, also makes use of totemic figural forms. Similarly, his use of the materials and processes of ceramics was not an entirely new departure for him, as his exhibition in 1979 at Art and Project, Amsterdam had included ceramic porcelain pieces. Nevertheless, by addressing issues of faith and belief, works such as Liar Liar describe a definite shift both in his own work and from the prevailing concerns of much art of the period.\nPope’s adoption of the phrase Liar Liar as the title of this work is suggestive of both a schoolyard taunt and questions of belief and artifice in artworks. The hooded element of each of the forms offers a sense of furtiveness, as if proposing that something is being hidden away. This feeling is exacerbated by the dark shadows that fall across each of the ‘faces’ of these figures. The resulting contrast between the white of the ceramic and the black shadows, Pope has explained, is ‘like “yes” and “no”’, since ‘both have equal validity and “yes” can be switched to “no” in the studio without too much worry’ (email exchange between Nicholas Pope and Tate curator Andrew Wilson, 12 December 2011).\nThe totemic form adopted in Liar Liar reflects the process by which each element is made through the coiling technique. It has been repeated throughout Pope’s work since 1992, but is exemplified in the figures of the Apostles and the Multitudes for his The Apostles Speaking in Tongues Lit by their own Lamps 1993–6 (collection of the artist, exhibited in Art Now 8, Tate Gallery, London 1996). One of the artist’s aims with these works was to make abstractions of religious belief appear factual and this is consistent with his direct manipulation of material processes during the 1970s. In The Apostles Speaking in Tongues Lit by their own Lamps, the character or identity of each figure is communicated by symbolic attributes, while in Liar Liar the figures seem more like a group or pack demonstrating the same anthropomorphic behaviour. Pope has stated that, ‘The use of these symbols in nearly everything can be light touch and also full on heavyweight thump. While art history is full of precedent, using “faith/belief” as a topic seemed to put me out on a limb in the early 90s – but faith and belief are now right there in the forefront of life today.’ (Email exchange between Nicholas Pope and Tate curator Andrew Wilson, 12 December 2011.)\n\nFurther reading\n Nicholas Pope, I Believe or do I: An Exhibition About the Oratory of Heavenly Space, exhibition booklet, Ledbury Poetry Festival, Ledbury 1998. Nicholas Pope, ‘I Dream... Seven Deadly Sins Services 1 Mile’, Aesthesis: International Journal of Art and Aesthetics in Management and Organizational Life, vol.1, no.1, 2007, pp.48–54, <a href=\"https://digitalcommons.wpi.edu/cgi/viewcontent.cgi?article=1004&context=aesthesis\">https://digitalcommons.wpi.edu/cgi/viewcontent.cgi?article=1004&context=aesthesis</a>, accessed 2 August 2018. Penelope Curtis, Christopher Townsend and Andrew Sabrin, Nicholas Pope, London 2013.\nAndrew Wilson January 2012\n</div>\n", "display_name": "Summary", "publication_date": "2018-08-02T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nEach of the 15 upright simplified totemic forms that make up Liar Liar has been constructed from fired unglazed ceramic. The simple forms of each figure – a bulbous footing and waist, and a hooded head that creates a circle of dark shadow – lends a particular character to each totem. The work’s title is equally suggestive of a schoolyard taunt and a broader concern with questions of belief, especially when raised in relation to artifice or fraud through artistic creativity. The hooded element of each of the forms suggests that something is being hidden away.\n</div>\n", "display_name": "Display caption", "publication_date": "2016-09-06T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "abstraction", "adults", "body", "figure", "figure", "from recognisable sources", "group", "groups", "irregular forms", "mouth", "non-representational", "people" ]

null

false

93 451 221 189 799 97 796 757 185

false

artwork

Wallpaper, 201 photographs, colour, on sticker-paper and sound recording

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118,155

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2,008

<a href="https://www.tate.org.uk/art/artists/pak-sheung-chuen-13759" aria-label="More by Pak Sheung Chuen" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Pak Sheung Chuen</a>

A Travel without Visual Experience

2,013

[]

Presented by Richard Chang 2010

T13694

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

32882

7004543 7001796 1000111 1000004

Pak Sheung Chuen

2,008

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false

1

https://media.tate.org.u…13/T13694_10.jpg

13759

installation wallpaper 201 photographs colour sticker-paper sound recording

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A Travel without Visual Experience

2,008

Tate

2008

CLEARED

3

Overall display dimensions variable, duration: 18min, 23sec

accessioned work

Tate

Presented by Richard Chang 2010

[]

[ "adults", "architecture", "clothing and personal items", "countries and continents", "documentary", "emotions, concepts and ideas", "fine arts and music", "formal qualities", "furnishings", "group", "groups", "leisure and pastimes", "Malaysia", "man", "objects", "people", "photograph", "places", "recreational activities", "street", "sunglasses", "townscapes / man-made features", "travel / tourism", "wallpaper" ]

null

false

88 17884 80 82 799 97 18679 195 1637 52 209 11117 6939 2090

false

artwork

Polystyrene, cement, earth, acrylic and pigment

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118,157

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1,983

<a href="https://www.tate.org.uk/art/artists/sir-anish-kapoor-cbe-ra-1384" aria-label="More by Sir Anish Kapoor CBE RA" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Sir Anish Kapoor CBE RA</a>

2,013

[]

Presented by the American Fund for the Tate Gallery, courtesy of the Carol and Arthur Goldberg Collection in honour of the New Museum of Contemporary Art, New York City 2012

T13695

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

7001518 1008931 1001895 7000198 1000004

Sir Anish Kapoor CBE RA

1,983

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This untitled sculpture comprises three ground-based, free-standing forms placed in a diagonal row, and a fourth form affixed above them on the gallery wall. Each shape evokes a hybrid of the natural and the man-made, as they are abstract and stylised yet curiously organic. The relationship between the four separate forms is determined by their shared colour – an intense blue – and their spatial alignment – a geometrical arrangement that seems to link the forms together. This arrangement encourages the spectator to read the ground-based forms consecutively in terms of height, from the lowest, which is furthest from the wall, to the tallest, which is closest to the wall. The lowest is round, but unevenly so, resembling a coiled ball. The next juxtaposes a spiked base of outward-thrusting cones coloured grey with a rounded, phallic upper part coloured blue. The tallest unites a round base with a conical top; its undulating surface evokes the textures of draped fabric or waves. On the wall, the slightly flattened ball shape of the fourth form resembles a stylized rose bloom.

false

1

https://media.tate.org.u…13/T13695_10.jpg

1384

sculpture polystyrene cement earth acrylic pigment

[ { "artistRoomsTour": false, "dateText": "1 July 2003 – 15 February 2004", "endDate": "2004-02-15", "exhibitionLegs": [ { "dateText": "4 August 2003 – 26 October 2003", "endDate": "2003-10-26", "id": 1272, "startDate": "2003-08-04", "venueName": "Instituto Tomie Ohtake (Sao Paulo, Brazil)", "venueWebsiteUrl": null }, { "dateText": "16 October 2003 – 15 February 2004", "endDate": "2004-02-15", "id": 1274, "startDate": "2003-10-16", "venueName": "Paco Imperial (Rio de Janeiro, Brazil)", "venueWebsiteUrl": null } ], "id": 871, "startDate": "2003-07-01", "title": "A Bigger Splash: British Art from Tate 1960-2003", "type": "Tate partnerships & programmes" }, { "artistRoomsTour": false, "dateText": "28 February 2014 – 11 May 2014", "endDate": "2014-05-11", "exhibitionLegs": [ { "dateText": "28 February 2014 – 11 May 2014", "endDate": "2014-05-11", "id": 8494, "startDate": "2014-02-28", "venueName": "Tate Liverpool (Liverpool, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/liverpool/" } ], "id": 6966, "startDate": "2014-02-28", "title": "Keywords: Art, Culture and Society in 1980s Britain", "type": "Exhibition" } ]

Untitled

1,983

Tate

1983

CLEARED

8

Overall display dimensions variable

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the Carol and Arthur Goldberg Collection in honour of the New Museum of Contemporary Art, New York City 2012

[ { "ajax_url": null, "canonical_url": null, "content": "This untitled sculpture comprises three ground-based, free-standing forms placed in a diagonal row, and a fourth form affixed above them on the gallery wall. Each shape evokes a hybrid of the natural and the man-made, as they are abstract and stylised yet curiously organic. The relationship between the four separate forms is determined by their shared colour – an intense blue – and their spatial alignment – a geometrical arrangement that seems to link the forms together. This arrangement encourages the spectator to read the ground-based forms consecutively in terms of height, from the lowest, which is furthest from the wall, to the tallest, which is closest to the wall. The lowest is round, but unevenly so, resembling a coiled ball. The next juxtaposes a spiked base of outward-thrusting cones coloured grey with a rounded, phallic upper part coloured blue. The tallest unites a round base with a conical top; its undulating surface evokes the textures of draped fabric or waves. On the wall, the slightly flattened ball shape of the fourth form resembles a stylized rose bloom. \n \n Kapoor used bright pigments in much of his sculpture of the 1980s. The artist was brought up in India, and studied art in London at Hornsey College of Art (1973–7) and Chelsea School of Art and Design (1977–8). In 1979, he returned to India on a visit, and afterwards began to use pure pigments in primary hues, evoking not only the colours he had rediscovered in India, but also the use of powder in religious ritual; see, for example, As if to Celebrate, I Discovered a Mountain Blooming with Red Flowers 1981 (<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kapoor-as-if-to-celebrate-i-discovered-a-mountain-blooming-with-red-flowers-t03675\" title=\"View the details of this artwork\">T03675</a>). Kapoor used dense Prussian blue for some of the works in this group (see At the Hub of Things 1987, reproduced in Celant, p.89), but the colour used in Untitled 1983 is exceptionally vivid. Blue pigment transforms the appearance of the polystyrene of which the sculpture is principally made, but it conceals not only the material used but the artist’s techniques as well. Kapoor has explained:\n \n<blockquote>What is important about these works is not that they are made out of pigment. The curious thing is that they appear to be made out of pigment. ‘Truth to materials,’ which was a big thing when I first started making sculpture, seemed to hold the whole thinking about sculpture down to the nuts and bolts of its factual realities. It said that what you see is what you get, and I think that art is exactly the opposite. What you see is not what you get! For me the illusory is more poetically truthful than the ‘real’. People would often wonder about the pigment pieces – are they really made of pigment? Well, some of them are and some of them aren’t, and that has never been a problem for me since I believe an object is read through its skin. I wanted to put truth to materials to one side and say that art is about lots of things that are not present.</blockquote>\n<blockquote>(Quoted in Baume, p.40.)</blockquote>\n\n The intensely saturated but powdery colour produced by pure pigment, whether blue, red or yellow, makes the solid forms of the pigmented floor pieces seem curiously porous, nebulous and fragile. As with other works from this group of sculptures, Kapoor’s use of pigment gives Untitled 1983 a sensual quality that emphasises the object’s tactility. The apparent relationship between each component of the sculpture makes the whole seem self contained, ordered and symbolic, even though the nature of that relationship and its symbolism remains unexplained. The artist has commented:\n \n<blockquote>I like the idea that the object has its own Gestalt, its own resolvedness, even as it accumulates other layers of meaning. I’m not talking about narrative. They may have references, but they are not narrative objects: they don’t delineate the process of their own making. At the same time, there is a suggestion of ritual in the layout, the sprinkling of pigment, the delicacy of the surface.</blockquote>\n<blockquote>(Quoted in Baume, p.40.)</blockquote>\n\n Further Reading:\n Nicholas Baume, ed., Anish Kapoor: Past, Present, Future, exhibition catalogue, Institute of Contemporary Art, Boston 2008.\n Germano Celant, Anish Kapoor, London 1996.\n Marco Livingstone, Anish Kapoor: Feeling Into Form, exhibition catalogue, Walker Art Gallery, Liverpool, and Le Nouveau Musée, Lyon 1983.\n \n Alice Sanger\n December 2008\n \n", "display_name": "Summary", "publication_date": "2009-04-03T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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null

false

39635 6272 796 185 137 16166 5731

false

artwork

Synthetic polymer paint on wall

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118,158

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2,001

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2,013

[]

Presented by the American Fund for the Tate Gallery, courtesy of the American Acquisitions Committee 2012

T13696

{ "id": 6, "meta": { "type": "art.Classification" } }

7005022 1000842 1000059 1000002

Arturo Herrera

2,001

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1

https://media.tate.org.u…13/T13696_10.jpg

6003

painting synthetic polymer paint wall

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Untitled

2,001

Tate

2001

CLEARED

6

Dimensions variable

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the American Acquisitions Committee 2012

[]

[ "abstraction", "cartoon / comic strip", "emotions, concepts and ideas", "figure", "formal qualities", "from recognisable sources", "gestural", "non-representational" ]

null

false

16105 221 189 227 185

false

artwork

Metal, plastic, nylon, radio transmitter, aerials and microphone

[ { "append_role_to_name": false, "date": "born 1974", "fc": "Jennifer Allora", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/jennifer-allora-6259" }, { "append_role_to_name": false, "date": "born 1971", "fc": "Guillermo Calzadilla", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/guillermo-calzadilla-6260" } ]

118,161

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2,003

<a href="https://www.tate.org.uk/art/artists/jennifer-allora-6259" aria-label="More by Jennifer Allora" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Jennifer Allora</a>, <a href="https://www.tate.org.uk/art/artists/guillermo-calzadilla-6260" aria-label="More by Guillermo Calzadilla" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Guillermo Calzadilla</a>

Ten minute transmission

2,013

[]

Presented by the American Fund for the Tate Gallery, courtesy of the American Acquisitions Committee 2012

T13698

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

7014406 1002782 7007710 7012149

Jennifer Allora, Guillermo Calzadilla

2,003

[]

This work was inspired by artist Alexander Calder’s suspended sculptures, or mobiles. Another influence was Russian artist and architect Vladimir Tatlin’s unrealised design, Monument to the Third International 1919, a tower with a rotating radio station at the top.The title of this work, Ten Minute Transmission refers to the period of time when the International Space Station (ISS) can be contacted via radio as it flies past. The ISS orbits the Earth once every 90 minutes, but passes close enough to the antenna just twice a day. Usually the radio only picks up sounds of encrypted data packets sent back to Earth from the station. Two-way voice communication with the astronauts is now rare and needs to be requested in advance.Gallery label, January 2019

false

1

https://media.tate.org.u…T13/T13698_9.jpg

6259 6260

installation metal plastic nylon radio transmitter aerials microphone

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Ten minute transmission

2,003

Tate

2003

CLEARED

3

displayed: 2743 × 6096 × 3048 mm

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the American Acquisitions Committee 2012

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[]

null

false

artwork

Acrylic paint on canvas

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118,163

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1,959

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White and Green

2,013

Blanco y Verde

[]

Presented by the American Fund for the Tate Gallery, courtesy of Ella Fontanals Cisneros 2012

T13699

{ "id": 6, "meta": { "type": "art.Classification" } }

7007567 7006453 1001206 7004624 7007568 7012149

Carmen Herrera

1,959

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false

1

https://media.tate.org.u…13/T13699_10.jpg

9101

painting acrylic paint canvas

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White and Green

1,959

Tate

1959

CLEARED

6

frame: 1164 × 1543 × 42 mm support: 1143 × 1524 mm

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of Ella Fontanals Cisneros 2012

[]

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

null

false

226 185

false

artwork

Oil paint on fibreboard

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118,165

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1,965

<a href="https://www.tate.org.uk/art/artists/robert-mangold-1568" aria-label="More by Robert Mangold" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Robert Mangold</a>

Red Wall

2,013

[]

Presented by the American Fund for the Tate Gallery 2012

T13700

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430

2071358 1002718 7007568 7012149

Robert Mangold

1,965

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Red Wall was one of a series of works inspired by the industrial loft architecture of New York City. Combining painting and sculpture, they were constructed using standard-sized sheets of plywood-backed masonite, fitted together to suggest portions of walls, doorways and windows. They were then painted using a spray gun to create a neutral, uninflected monochrome surface. According to the artist, the choice of colours was intended to evoke ordinary objects, in this case ’brick-red’.Gallery label, February 2007

false

1

https://media.tate.org.u…13/T13700_10.jpg

1568

painting oil paint fibreboard

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Red Wall

1,965

Tate

1965

CLEARED

6

displayed: 2450 × 2450 mm

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a> 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nRed Wall is a large terracotta-coloured oil painting on a pair of thin rectangular fibreboard panels. These panels combine to form a shape that is square except for two missing sections: one in a long, narrow rectangular form running along the bottom edge, and the other in a shorter rectangular shape positioned at the top left corner. The two boards are pushed close together so that they are touching, and their adjacent edges form a thin dark line running down the middle of the work. The paint covers both boards evenly and has a matt finish. Although the work is painted one single colour, it features some subtle tonal variations, with darker areas appearing at the corners and edges.\nThis painting was made by the American artist Robert Mangold in his studio on the Bowery in Manhattan, New York, in 1964. It is one of a series of works known as Walls that he made in 1964–5 using standard-sized fibreboard panels. To make Red Wall, Mangold applied paint to the fibreboards using a spray gun so that its surface did not show any signs of his touch, and at this time the artist often thinned his oil paints with turpentine in order to achieve as even a finish as possible. Mangold has stated that the colours used in Red Wall and other works from the mid-1960s were intended to have an ordinary quality rather than being especially beautiful, and that their appearance was inspired by everyday objects that ‘we take for granted’, such as brown paper bags, grey cement or, in this case, red bricks (quoted in David Carrier, ‘Robert Mangold’s “Gray Window Wall”’, Burlington Magazine, vol.138, no.1125, December 1996, p.827).\nAs is suggested by their titles, Red Wall and other paintings in the Walls series can be linked to architectural structures. 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In 1999 Mangold stated that he was interested in the way that even very thin paintings like Red Wall can have their own physical presence, like that of an ‘architectural place or space’ (Robert Mangold and Urs Raussmuller, ‘A Talk Before An Exhibition’, in Centro Galego de Arte Contemporánea 1999, p.85).\nMangold moved to New York in 1963 and he has said that Red Wall and other works from the same period were influenced by his early experiences of a busy urban environment. In 1999 he stated:\n\n<blockquote>What struck me when I first moved to New York was that so much of what we see, we see in fragments. We see part of a truck going by, or part of a building. We never see anything in completeness. And the first wall paintings, 1964–5, were involved in that idea of sections; each work is a totality, but it implies that much more could be there. (Mangold in Claire Dienes and Lilian Tone, ‘Interview with Robert Mangold’, The Museum of Modern Art Oral History Program, 18 November 1999, <a href=\"https://www.moma.org/momaorg/shared/pdfs/docs/learn/archives/transcript_mangold.pdf\">https://www.moma.org/momaorg/shared/pdfs/docs/learn/archives/transcript_mangold.pdf</a>, accessed 10 October 2014.)</blockquote>\nThis is reflected in Red Wall, which explores the relationship between part and whole through its combination of separate boards into a single painting and through its missing segments, which evoke a sense of incompleteness.\nDue to its asymmetrical format and removed sections, Red Wall can be compared with paintings by artists such as Frank Stella, Richard Tuttle and Ronald Davis, who also came to prominence in America in the 1960s and who often shaped their canvases in unusual ways. While making Red Wall Mangold was also working on a number of paintings with relief elements and he has said that these works were influenced by the idea of ‘painting becoming sculpture’ (Mangold in Centro Galego de Arte Contemporánea 1999, p.114). However, he has stated that while Red Wall was in his studio alongside these more three-dimensional pieces he felt increasingly drawn to its thinness rather than the sculptural qualities of the other works, and this led him to reject the use of relief components in his paintings (see Centro Galego de Arte Contemporánea 1999, pp.83, 114). Since that time Mangold has consistently made works on very thin supports that investigate what he considers to be the fundamental components specific to paintings, namely their flatness and the fact that they are defined by outer edges (Mangold and Raussmuller in Centro Galego de Arte Contemporánea 1999, p.83). Red Wall can therefore be seen to mark a key turning point in his practice.\n\nFurther reading\n \nRobert Mangold, exhibition catalogue, Centro Galego de Arte Contemporánea, Santiago de Compostela 1999, pp.83, 85, 114. Richard Shiff, ‘Autonomy, Actuality, Mangold’, in Richard Shiff, Robert Storr, Arthur C. Danto and others, Robert Mangold, London 2000, reproduced p.38. Richard Shiff, ‘Curves Evolve’, in Robert Mangold: Column Structure Paintings, exhibition catalogue, Pace Wildenstein, New York 2007, reproduced p.13.\nDavid Hodge October 2014\n\nSupported by Christie’s.\n\n</div>\n", "display_name": "Summary", "publication_date": "2015-01-13T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "Red Wall was one of a series of works inspired by the industrial loft architecture of New York City. Combining painting and sculpture, they were constructed using standard-sized sheets of plywood-backed masonite, fitted together to suggest portions of walls, doorways and windows. They were then painted using a spray gun to create a neutral, uninflected monochrome surface. According to the artist, the choice of colours was intended to evoke ordinary objects, in this case ’brick-red’.\n", "display_name": "Display caption", "publication_date": "2007-02-21T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "abstraction", "architecture", "brick", "building", "colour", "from recognisable sources", "geometric", "industrial", "man-made", "materials", "non-representational", "objects" ]

null

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false

artwork

Mixed media on canvas

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118,170

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<a href="https://www.tate.org.uk/art/artists/mark-bradford-9242" aria-label="More by Mark Bradford" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Mark Bradford</a>

Los Moscos

2,013

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Presented by the American Fund for the Tate Gallery, courtesy of the American Acquisitions Committee 2012

T13701

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1002608 7007157 7012149

Mark Bradford

2,004

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This large-scale collage includes materials found by the artist on the streets around his studio in Los Angeles, USA. Visually suggestive of aerial maps of sprawling, urban areas, the collage is constructed entirely from paper fragments which, the artist believes, ‘act as memory of things pasted and things past. You can peel away the layers of papers and it’s like reading the streets through the signs’. The work takes its title from a derogatory slang term for migrant day labourers in the San Francisco Bay Area, reflecting the artist’s long-standing interest in the sub-cultures of the inner city.Gallery label, October 2016

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Los Moscos

2,004

Tate

2004

CLEARED

6

support: 3179 × 4843 × 40mm estimated size with plywood edge protection pieces attached for air travel: 3231 × 4898 × 86 - see loan notes, Feb 2020 in digital file

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the American Acquisitions Committee 2012

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Vietnam II

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[]

Presented by the American Fund for the Tate Gallery, courtesy of Ulrich and Harriet Meyer (Building the Tate Collection) 2012

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Vietnam II belongs to a series of three massive paintings that Golub made in protest against the Vietnam War. He had opposed the war since the 1960s but avoided representing it directly in his work, preferring to explore the themes of masculinity and power in a more universal manner. He changed his mind after the 1972 presidential election, in which the anti-war Senator George McGovern was heavily defeated by Richard Nixon. Golub used news photographs and his own experience as a veteran of the Second World War in order to build an allegory of the disconnection generated by conflict. Vietnam II sets American soldiers and their armoured car across a telling central gulf from Vietnamese civilian victims. The contrast between ruthless organisation and panicked disintegration find an echo in the apparently fragmentary nature of the work itself.Gallery label, July 2008

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Vietnam II

1,973

Tate

1973

CLEARED

6

support: 2940 × 11515 mm

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of Ulrich and Harriet Meyer (Building the Tate Collection) 2012

[ { "ajax_url": null, "canonical_url": null, "content": "Over three metres high and more than twelve metres long, this massive work is Golub’s largest painting and arguably one of his most ambitious. It belongs to a series of three large-scale works on the subject of the Vietnam War the artist made between 1972 and 1974. The paintings were motivated in part by the American presidential election of 1972, which saw Richard Nixon (1913-94) soundly defeating the anti-war platform of George McGovern (born 1922). Golub had adopted an active stance against the Vietnam conflict for almost a decade at the time these works were made; he joined the anti-war group Artists and Writers Protest on his return to the United States in 1964 after living for several years in Europe. However until this series he had not directly addressed contemporary issues in his work. 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A large expanse of bare canvas divides the two groups of figures. The aggression on the faces of the American soldiers is countered by the combination of horror and stoicism in the expressions of the Vietnamese figures, particularly a young boy positioned in the foreground of the image whose face acts as the focal point for the right side of the composition. He stares directly out of the picture, implicating the viewer in the action.\n \n The dynamic postures of the figures were sourced from contemporary news photographs. Golub has described his working process, saying, ‘I begin by projecting drawings or parts of photographs onto the canvas – each figure is a synthesis of different sources ... I want each figure to be both the reconstruction of a generic type and to possess an idiosyncratic singular existence. The figures are first outlined and shaded in black. The second coat emphasizes three dimensionality and designated highlights. I apply local colour to define skin, wood, metal, cloth. The canvas is put on the floor and paint areas are dissolved with solvent and scraped. The main scraping tool is a meat cleaver. Once the canvas has been scraped down, eroded – a process which frequently takes two weeks – I reconstruct the figures’ (quoted in Michael Newman, ‘Interview with Leon Golub’, Leon Golub: Mercenaries and Interrogations, pp.5-6). The process of scraping embeds areas of colour deep in the grain of the support and gives the surface of the painting a rough texture.\n \n The painting is executed on unstretched linen, and hangs directly on the wall from grommets positioned at regular intervals along the top of the canvas. Hanging loosely in this manner, the painting is suggestive of an unfurled banner or an animal hide. Along the bottom edge, three irregular forms have been cut away from the painting. 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Ethel Ashton

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Presented by the American Fund for the Tate Gallery, courtesy of Hartley and Richard Neel, the artist's sons 2012

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Alice Neel

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Lent by the American Fund for the Tate Gallery, courtesy of Hartley and Richard Neel, the artist's sons 2001L02332 Ethel Ashton, 1930, was painted at one of the most trying times in Alice Neel's life. In May of that year her husband, the Cuban artist Carlos Enríquez (1900-1957), had left her, moving out of their New York apartment and taking their daughter Isabella (called Isabetta, 1928-1982) to Havana to be raised by his two sisters. Penniless, Neel was forced to sublet the apartment and move back to her parents' home in Colwyn, Pennsylvania. Every day she would travel to Philadelphia to work at the studio of Ethel Ashton (1896-1975) and Rhoda Meyers, two friends from the Philadelphia School of Design for Women (now Moore College of Art and Design), where Neel had studied between 1921 and 1925. In mid-August Neel suffered a nervous breakdown and by October she had been hospitalised in Philadelphia. Of this time Neel later wrote, 'I worked at their studio every day. You can't imagine how I worked. I wouldn't have carfare; I wouldn't have enough for lunch. I had a terrible life.' ('Alice on Alice', in Patricia Hills, New York 1983.) In the short space of time that she worked in Meyers's and Ashton's studio, however, Neel painted a number of important early works, including portraits of both her friends, Rhoda Meyers with Blue Hat, 1930 (private collection), and Ethel Ashton. Neel was frustrated by the marginalised status of women artists and her nude portraits of Ashton and Meyers as painted models rather than artists in their own right deliberately court and complicate stereotypes of women. Neel painted Ashton as a large, ungainly and hesitant looking figure. The deliberate awkwardness of the painting recalls the Expressionism of Karl Schmidt-Rottluff (1884-1976) or even the sculptures and prints of Ernst Barlach's (1870-1938). The position of the artist in relation to the sitter, above and off-centre, results in the distortion of the latter's body and features, emphasising her sagging fleshiness. Bright white light coming from the right of the painting accentuates the misshapen folds of flesh and gives the body an air of substantial, almost sculptural, bulkiness. The cropping of the figure and shallow setting add to a sense of anxiety; the overall effect is that of a reluctant, cornered goddess of fertility caught in the headlights of a vehicle. 'Don't you like her left leg on the right, that straight line?' Neel later wrote. 'You see, it's very uncompromising. I can assure you, there was no one in the country doing nudes like this. And also, it's great for Women's Lib, because she's almost apologizing for living.' (Quoted in Alice Neel: Paintings from the Thirties, 1997, p.66.) The painting itself is not apologetic; it is confident and uncompromising. It offers the viewer an uncomfortable but strongly depicted image of femininity. Curator Ann Temkin, discussing Neel's 1980 Self-portrait (private collection), describes it as 'not calculated to please anyone, least of all the misshapen sitter', adding, 'like much of Neel's work over the course of five decades, the painting is happy to look wrong.' ('Alice Neel: Self and Others', in Temkin, ed., 2000, p.13.) This is a description that could as easily be applied to Ethel Ashton. Further reading:Patricia Hills, Alice Neel, New York 1983, reproduced p.31 in colourDenise Bauer, 'Alice Neel's Female Nudes', Woman's Art Journal, volume 15, number 2, Fall 1994/Winter 1995Alice Neel: Paintings from the Thirties, exhibition catalogue, Robert Miller Gallery, New York 1997, reproduced p.67 in colourAnn Temkin (ed.), Alice Neel, exhibition catalogue, Philadelphia Museum of Art, Philadelphia 2000 Giorgia BottinelliMarch 2002

false

1

https://media.tate.org.u…13/T13703_10.jpg

3047

painting oil paint canvas

[ { "artistRoomsTour": false, "dateText": "28 October 2005 – 15 January 2006", "endDate": "2006-01-15", "exhibitionLegs": [ { "dateText": "28 October 2005 – 15 January 2006", "endDate": "2006-01-15", "id": 2610, "startDate": "2005-10-28", "venueName": "National Museum of Women in the Arts (Washington D.C, USA)", "venueWebsiteUrl": null } ], "id": 2346, "startDate": "2005-10-28", "title": "Alice Neel's Women", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "6 June 2007 – 9 September 2007", "endDate": "2007-09-09", "exhibitionLegs": [ { "dateText": "6 June 2007 – 9 September 2007", "endDate": "2007-09-09", "id": 2942, "startDate": "2007-06-06", "venueName": "Scottish National Portrait Gallery (Edinburgh, UK)", "venueWebsiteUrl": null }, { "dateText": "29 September 2007 – 9 December 2007", "endDate": "2007-12-09", "id": 3359, "startDate": "2007-09-29", "venueName": "Compton Verney (Compton Verney, UK)", "venueWebsiteUrl": null } ], "id": 2608, "startDate": "2007-06-06", "title": "Naked Portrait", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "21 March 2010 – 2 January 2011", "endDate": "2011-01-02", "exhibitionLegs": [ { "dateText": "21 March 2010 – 13 June 2010", "endDate": "2010-06-13", "id": 5046, "startDate": "2010-03-21", "venueName": "Museum of Fine Arts, Houston (Houston, USA)", "venueWebsiteUrl": "http://www.mfah.org" }, { "dateText": "9 July 2010 – 19 September 2010", "endDate": "2010-09-19", "id": 2614, "startDate": "2010-07-09", "venueName": "Whitechapel Gallery (London, UK)", "venueWebsiteUrl": "http://www.whitechapel.org/" }, { "dateText": "10 October 2010 – 2 January 2011", "endDate": "2011-01-02", "id": 5047, "startDate": "2010-10-10", "venueName": "Moderna Museet Malmo (Malmo, Sweden)", "venueWebsiteUrl": null } ], "id": 2350, "startDate": "2010-03-21", "title": "Alice Neel", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "10 June 2016 – 14 January 2018", "endDate": "2018-01-14", "exhibitionLegs": [ { "dateText": "10 June 2016 – 2 October 2016", "endDate": "2016-10-02", "id": 9903, "startDate": "2016-06-10", "venueName": "Ateneum Art Museum (Helsinki, Finland)", "venueWebsiteUrl": null }, { "dateText": "5 November 2016 – 12 February 2017", "endDate": "2017-02-12", "id": 9902, "startDate": "2016-11-05", "venueName": "Gemeentemuseum Den Haag (The Hague, Netherlands)", "venueWebsiteUrl": null }, { "dateText": "4 March 2017 – 17 September 2017", "endDate": "2017-09-17", "id": 9904, "startDate": "2017-03-04", "venueName": "Fondation Vincent Van Gogh (Arles, France)", "venueWebsiteUrl": null }, { "dateText": "13 October 2017 – 14 January 2018", "endDate": "2018-01-14", "id": 9905, "startDate": "2017-10-13", "venueName": "Deichtorhallen Hamburg (Hamburg, Germany)", "venueWebsiteUrl": null } ], "id": 8160, "startDate": "2016-06-10", "title": "Alice Neel - A Retrospective", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "5 November 2016 – 31 August 2025", "endDate": "2025-08-31", "exhibitionLegs": [ { "dateText": "10 November 2023 – 14 April 2024", "endDate": "2024-04-14", "id": 14116, "startDate": "2023-11-10", "venueName": "LWL-Landesmuseum für Kunst und Kulturgeschichte Westfälisches (Munster, Germany)", "venueWebsiteUrl": "http://landesmuseum.lwl.org" }, { "dateText": "23 November 2024 – 3 March 2025", "endDate": "2025-03-03", "id": 16283, "startDate": "2024-11-23", "venueName": "Worcester Art Museum (Worcester, USA)", "venueWebsiteUrl": "http://www.worcesterart.org" } ], "id": 8136, "startDate": "2016-11-05", "title": "Nude: art from the Tate collection", "type": "Tate partnerships & programmes" }, { "artistRoomsTour": false, "dateText": "16 February 2019 – 31 January 2021", "endDate": "2021-01-31", "exhibitionLegs": [ { "dateText": "16 February 2019 – 31 January 2021", "endDate": "2021-01-31", "id": 12627, "startDate": "2019-02-16", "venueName": "Tate Liverpool (Liverpool, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/liverpool/" } ], "id": 10409, "startDate": "2019-02-16", "title": "Max Ernst", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "15 March 2021 – 10 July 2022", "endDate": "2022-07-10", "exhibitionLegs": [ { "dateText": "15 March 2021 – 1 August 2021", "endDate": "2021-08-01", "id": 13673, "startDate": "2021-03-15", "venueName": "Metropolitan Museum of Art (New York, USA)", "venueWebsiteUrl": "http://www.metmuseum.org" }, { "dateText": "17 September 2021 – 6 February 2022", "endDate": "2022-02-06", "id": 14458, "startDate": "2021-09-17", "venueName": "Guggenheim Museum (Bilbao, Spain)", "venueWebsiteUrl": null }, { "dateText": "12 March 2022 – 10 July 2022", "endDate": "2022-07-10", "id": 14460, "startDate": "2022-03-12", "venueName": "Fine Arts Museums of San Francisco, de Young Museum (San Francisco, USA)", "venueWebsiteUrl": "http://www.famsf.org" } ], "id": 11283, "startDate": "2021-03-15", "title": "Alice Neel: People Come First", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "5 October 2022 – 26 November 2023", "endDate": "2023-11-26", "exhibitionLegs": [ { "dateText": "5 October 2022 – 16 January 2023", "endDate": "2023-01-16", "id": 13318, "startDate": "2022-10-05", "venueName": "Musée National d’Art Moderne - Centre Pompidou (Paris, France)", "venueWebsiteUrl": "http://www.centrepompidou.fr" }, { "dateText": "16 February 2023 – 21 May 2023", "endDate": "2023-05-21", "id": 14920, "startDate": "2023-02-16", "venueName": "Barbican Art Gallery (London, UK)", "venueWebsiteUrl": null } ], "id": 10971, "startDate": "2022-10-05", "title": "Alice Neel - an invested gaze", "type": "Loan-out" } ]

Ethel Ashton

1,930

Tate

1930

CLEARED

6

support: 610 × 559 × 18 mm frame: 841 × 797 mm

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of Hartley and Richard Neel, the artist's sons 2012

[ { "ajax_url": null, "canonical_url": null, "content": " Lent by the American Fund for the Tate Gallery, courtesy of Hartley and Richard Neel, the artist's sons 2001 L02332\n\nEthel Ashton, 1930, was painted at one of the most trying times in Alice Neel's life. In May of that year her husband, the Cuban artist Carlos Enríquez (1900-1957), had left her, moving out of their New York apartment and taking their daughter Isabella (called Isabetta, 1928-1982) to Havana to be raised by his two sisters. Penniless, Neel was forced to sublet the apartment and move back to her parents' home in Colwyn, Pennsylvania. Every day she would travel to Philadelphia to work at the studio of Ethel Ashton (1896-1975) and Rhoda Meyers, two friends from the Philadelphia School of Design for Women (now Moore College of Art and Design), where Neel had studied between 1921 and 1925. In mid-August Neel suffered a nervous breakdown and by October she had been hospitalised in Philadelphia.\n\nOf this time Neel later wrote, 'I worked at their studio every day. You can't imagine how I worked. I wouldn't have carfare; I wouldn't have enough for lunch. I had a terrible life.' ('Alice on Alice', in Patricia Hills, New York 1983.) In the short space of time that she worked in Meyers's and Ashton's studio, however, Neel painted a number of important early works, including <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/portrait\" title=\"Glossary definition for 'Portrait'\">portraits</a> of both her friends, Rhoda Meyers with Blue Hat, 1930 (private collection), and Ethel Ashton. Neel was frustrated by the marginalised status of women artists and her nude portraits of Ashton and Meyers as painted models rather than artists in their own right deliberately court and complicate stereotypes of women.\n\nNeel painted Ashton as a large, ungainly and hesitant looking figure. The deliberate awkwardness of the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/painting\" title=\"Glossary definition for 'Painting'\">painting</a> recalls the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/expressionism\" title=\"Glossary definition for 'Expressionism'\">Expressionism</a> of Karl Schmidt-Rottluff (1884-1976) or even the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/s/sculpture\" title=\"Glossary definition for 'Sculpture'\">sculptures</a> and <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/print\" title=\"Glossary definition for 'Print'\">prints</a> of Ernst Barlach's (1870-1938). The position of the artist in relation to the sitter, above and off-centre, results in the distortion of the latter's body and features, emphasising her sagging fleshiness. Bright white light coming from the right of the painting accentuates the misshapen folds of flesh and gives the body an air of substantial, almost <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/s/sculpture\" title=\"Glossary definition for 'Sculpture'\">sculptural</a>, bulkiness. The cropping of the figure and shallow setting add to a sense of anxiety; the overall effect is that of a reluctant, cornered goddess of fertility caught in the headlights of a vehicle.\n\n'Don't you like her left leg on the right, that straight line?' Neel later wrote. 'You see, it's very uncompromising. I can assure you, there was no one in the country doing nudes like this. And also, it's great for Women's Lib, because she's almost apologizing for living.' (Quoted in Alice Neel: Paintings from the Thirties, 1997, p.66.) The painting itself is not apologetic; it is confident and uncompromising. It offers the viewer an uncomfortable but strongly depicted image of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/f/feminist-art\" title=\"Glossary definition for 'Feminist art'\">femininity</a>. Curator Ann Temkin, discussing Neel's 1980 Self-portrait (private collection), describes it as 'not calculated to please anyone, least of all the misshapen sitter', adding, 'like much of Neel's work over the course of five decades, the painting is happy to look wrong.' ('Alice Neel: Self and Others', in Temkin, ed., 2000, p.13.) This is a description that could as easily be applied to Ethel Ashton.\n\nFurther reading: Patricia Hills, Alice Neel, New York 1983, reproduced p.31 in colour Denise Bauer, 'Alice Neel's Female Nudes', Woman's Art Journal, volume 15, number 2, Fall 1994/Winter 1995 Alice Neel: Paintings from the Thirties, exhibition catalogue, Robert Miller Gallery, New York 1997, reproduced p.67 in colour Ann Temkin (ed.), Alice Neel, exhibition catalogue, Philadelphia Museum of Art, Philadelphia 2000\n\nGiorgia Bottinelli March 2002", "display_name": "Summary", "publication_date": "2005-09-15T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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null

false

92 2793 118 519 863 20117 1696 98 20114 694 158 206 167 46

false

artwork

Video, projection or monitor, colour and sound

[ { "append_role_to_name": false, "date": "born 1967", "fc": "Aleksandra Mir", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/aleksandra-mir-10038" } ]

118,173

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999976, "shortTitle": "Tate American Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,999

<a href="https://www.tate.org.uk/art/artists/aleksandra-mir-10038" aria-label="More by Aleksandra Mir" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Aleksandra Mir</a>

First Woman on Moon

2,013

[]

Presented by the American Fund for the Tate Gallery, courtesy of the American Acquisitions Committee 2012

T13704

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

7006366

Aleksandra Mir

1,999

[]

First Woman on the Moon is a single-channel colour video depicting a staged moon landing, which took place near the town of Beverwijk in the Netherlands on 28 August 1999. Heavy machinery was used to construct false craters on a 200 x 300 metre section of a man-made beach so that the area broadly resembled a lunar landscape. The video combines amateur footage with clips from television coverage and still photographs, and although it is not presented in clear chronological order, it loosely progresses from images showing the general beach area, through to a longer middle section primarily focusing on the landscaping process, to a final segment in which the artist climbs onto one of the craters and raises the American flag. Throughout the video, people are frequently depicted taking photographs or filming the event. As well as footage of the staged moon landing, the television clips include shots of a presenter talking in a studio and an animated ‘ident’, and at the end of the film a large group of people joins the artist on the crater while the credits are displayed. A soundtrack plays throughout the work, comprising a mixture of voice recordings made during actual moon landings with pieces of instrumental music, which are largely produced using synthesizers and electronic keyboards and have a kitsch feel, sounding like ‘stock’ tracks that may feature in the background of television programmes.

false

1

https://media.tate.org.u…T13/T13704_9.jpg

10038

installation video projection or monitor colour sound

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First Woman on the Moon

1,999

Tate

1999

CLEARED

3

duration: 13min, 30sec

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the American Acquisitions Committee 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nFirst Woman on the Moon is a single-channel colour video depicting a staged moon landing, which took place near the town of Beverwijk in the Netherlands on 28 August 1999. Heavy machinery was used to construct false craters on a 200 x 300 metre section of a man-made beach so that the area broadly resembled a lunar landscape. The video combines amateur footage with clips from television coverage and still photographs, and although it is not presented in clear chronological order, it loosely progresses from images showing the general beach area, through to a longer middle section primarily focusing on the landscaping process, to a final segment in which the artist climbs onto one of the craters and raises the American flag. Throughout the video, people are frequently depicted taking photographs or filming the event. As well as footage of the staged moon landing, the television clips include shots of a presenter talking in a studio and an animated ‘ident’, and at the end of the film a large group of people joins the artist on the crater while the credits are displayed. A soundtrack plays throughout the work, comprising a mixture of voice recordings made during actual moon landings with pieces of instrumental music, which are largely produced using synthesizers and electronic keyboards and have a kitsch feel, sounding like ‘stock’ tracks that may feature in the background of television programmes.\nThis work was produced by the Swedish-American artist Aleksandra Mir in 1999. Mir first conceived of the video in response to an invitation by the non-profit organisation Casco Projects in March 1999 to produce a site-specific work in the Netherlands, and the subject for the film was inspired by the fact that 1999 saw the thirtieth anniversary of the first moon landing (see Mir, accessed 19 February 2015). The project had a budget of $2,000, but this was spent during the first full day of work in April, when Mir took out a half-page advertisement for the event in the magazine Artforum. The rest of the project therefore had to be undertaken by volunteers using loaned equipment and Mir spent almost four months building relationships and sourcing corporate support to enable the project to continue. Some of the still shots were taken using equipment provided by the camera manufacturer Victor Hasselblad AB, including a 35 mm panoramic camera of the same kind that the astronaut Neil Armstrong used during the first moon landing in 1969. Victor Hasselblad AB also provided the music and voice recordings, which were taken from promotional material surrounding the original event. In 2007 Mir wrote that she does not have a preference as to how the work is displayed except that the soundtrack should be played loudly in the exhibition space through speakers (see Aleksandra Mir, letter to Sarah Gavlak, Director of Gavlak Gallery (Los Angeles and Palm Beach), 27 January 2007, unpaginated, Tate Acquisition File).\nDiscussing this work in an interview in 2003, Mir stated that ‘It was a conscious way of trying to match the media reality of the Moon landings that only twelve people in the world have actually experienced. For everybody else, it’s become a mediated reality’ (Mir in Bollen 2003–4, accessed 19 February 2015). This is reflected through the use of television footage in the film, as well as frequent depictions of people using cameras to photograph and record the landing, which emphasise the role of mediation in representations of major events. In the same interview Mir claimed that her emphasis on publicity in First Woman on the Moon – an aspect of the work for which she was criticised in the press – involved a reflection on art’s relationship with the media, stating that ‘The art world’s spectacle-complex was brought out in the open’ (Mir in Bollen 2003–4, accessed 19 February 2015).\nIn 2007 Mir wrote that through her low budget, small-scale event, ‘The Bombastics of the original moon landing is played against my pathetic and feminine attempts’ (Mir 2007, unpaginated). While the word ‘pathetic’ could be understood as a pejorative term for her project, in 2003 Mir said that the work should be seen as ‘mocking all sorts of power’, suggesting that its ‘pathetic’ appearance was designed to parody the dramatic representation of space travel, which has sometimes functioned as a display of national strength (Mir in Bollen 2003–4, accessed 19 February 2015). In 2009 Mir also acknowledged that her performance of a woman landing on the moon for the first time could be seen as a feminist action, but that ‘the work is open-ended … I get all sorts of readings and that is my point, keeping the ball in the air.’ (Mir in Roberto Balò and Lorenzo Capanni, ‘Venice Biennale 2009: Interview with Aleksandra Mir’, AdgBlog, 28 May 2009, <a href=\"http://www.adgblog.it/2009/05/28/venice-biennale-2009-interview-with-aleksandra-mir/\">http://www.adgblog.it/2009/05/28/venice-biennale-2009-interview-with-aleksandra-mir/</a>, accessed 19 February 2015.)\n\nFurther reading\n Aleksandra Mir, ‘First Woman on the Moon’, undated, <a href=\"http://www.aleksandramir.info/projects/first-woman-on-the-moon/\">http://www.aleksandramir.info/projects/first-woman-on-the-moon/</a>, accessed 19 February 2015. Will Bradley, ‘Life and Times’, Frieze, no.75, May 2003, pp.63–4. Christopher Bollen, ‘Aleksandra Mir’, Believer, December 2003–January 2004, <a href=\"http://www.believermag.com/issues/200312/?read=interview_mir\">http://www.believermag.com/issues/200312/?read=interview_mir</a>, accessed 19 February 2015.\nDavid Hodge February 2015\n\nSupported by Christie’s.\n\n</div>\n", "display_name": "Summary", "publication_date": "2015-06-24T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[]

null

false

artwork

Photograph, black and white, on paper, fed 2 type camera and wooden frames

[ { "append_role_to_name": false, "date": "born 1962", "fc": "Rosângela Rennó", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/rosangela-renno-8376" } ]

118,174

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<a href="https://www.tate.org.uk/art/artists/rosangela-renno-8376" aria-label="More by Rosângela Rennó" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Rosângela Rennó</a>

Pedro Vasquez Fed 2 project Last Photo

2,013

Pedro Vasquez, Fed 2 Tipo C, do projeto A Última Foto

[]

Presented by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee 2012

T13705

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1020827 7006237 7002457 1000047 1000002

Rosângela Rennó

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Pedro Vasquez, Fed 2, from the project The Last Photo

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Tate

2006

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Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the Latin American Acquisitions Committee 2012

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Milan Agfa Isolette project Last Photo

2,013

Milan, Agfa Isolette, do projeto A última foto

[]

Presented by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee 2012

T13706

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Milan, Agfa Isolette, from the project The Last Photo

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Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the Latin American Acquisitions Committee 2012

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CNN Concatenated

2,013

[]

Presented by the American Fund for the Tate Gallery, courtesy of the American Acquisitions Committee 2012

T13707

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Omer Fast

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CNN Concatenated 2002 is a single channel colour video lasting approximately eighteen minutes and composed entirely of excerpts from the American television news channel CNN. Displayed on a monitor, the work incorporates footage of news anchors, guest commentators, reporters on location and weather forecasters. The extracts are edited so that each presenter speaks only a single word, but collectively their words form seven monologues of varying lengths that are suggestive of emotive personal conversations rather than conventional news broadcasts. These monologues appear to be directly addressed to the viewer (‘I need your attention. I need to know I’m being listened to’) and often imply a satirical critique of television news (‘You recycle anything older than a day. Anything that carries a history is dangerous’). The montage moves at a rapid pace, but also includes short pauses and intakes of breath by the presenters. At the bottom of the screen CNN’s logo and the changing news headlines flash past. Tate’s copy of CNN Concatenated is the artist’s proof, which was produced alongside an edition of five.

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Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the American Acquisitions Committee 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nCNN Concatenated 2002 is a single channel colour video lasting approximately eighteen minutes and composed entirely of excerpts from the American television news channel CNN. Displayed on a monitor, the work incorporates footage of news anchors, guest commentators, reporters on location and weather forecasters. The extracts are edited so that each presenter speaks only a single word, but collectively their words form seven monologues of varying lengths that are suggestive of emotive personal conversations rather than conventional news broadcasts. These monologues appear to be directly addressed to the viewer (‘I need your attention. I need to know I’m being listened to’) and often imply a satirical critique of television news (‘You recycle anything older than a day. Anything that carries a history is dangerous’). 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Do you make a linear work that has a beginning and end? What happens when somebody comes in two minutes before the credits roll? For me, the prime imperative is to try to capture people and keep them there. (WexBlog 2012, accessed 2 December 2014.)</blockquote>\nThe monologues in CNN Concatenated also maintain absurd or comic overtones, as the curator and critic Mark Godfrey has observed: ‘As well as being incisive, the work is also very funny: the slick and slimy anchors are made to utter sentiments quite beyond their sensibilities but appear absolutely unruffled, their manicures and fake tans always immaculate’ (Godfrey 2006, p.132). The personal tone of the monologues seems to mock the false intimacy offered by many television presenters, with lines often suggestive of a romantic attachment between the reporters and the audience: ‘I love you. I miss you. Even though we hardly spend any time away from each other’.\nFast’s video can be viewed in the context of debates surrounding terrorism and security in the United States that emerged following the attacks of 11 September 2001. While the monologues in CNN Concatenated often touch on issues of personal anxiety (‘Look, I know that you’re scared. I know what you’re afraid of’), the headlines running along the bottom of the screen frequently refer to news stories about terrorist plots and the US military’s actions in Afghanistan. Fast’s combination of these elements seems to point to the media’s role in creating public fear.\nThis work can be considered within the broader history of artists responding to the form and content of television programmes. Godfrey has compared it to Television Delivers People 1973, a video by the American artist Richard Serra featuring a scrolling list of statements concerning television’s ability to manipulate its audience, set to a soundtrack of banal music (Godfrey 2006, p.131). The video montage techniques employed by Fast are also a central feature of the work of other contemporary artists such as Christian Marclay (see, for example, Video Quartet 2002, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/marclay-video-quartet-t11818\" title=\"View the details of this artwork\">T11818</a>).\n\nFurther reading\n Stefano Basilico, Cut: Film as Found Object in Contemporary Video, exhibition catalogue, Milwaukee Art Museum, Milwaukee 2004, pp.34–5, 60–5. Mark Godfrey, ‘Making History’, Frieze, no.97, March 2006, pp.130–3. ‘Omer Fast and Kris Paulsen: A Conversation’, WexBlog, Wexner Center for the Arts, 10 July 2012, <a href=\"http://wexarts.org/blog/omer-fast-and-kris-paulsen-conversation\">http://wexarts.org/blog/omer-fast-and-kris-paulsen-conversation</a>, accessed 2 December 2014.\nRichard Martin December 2014\n\nSupported by Christie’s.\n\n</div>\n", "display_name": "Summary", "publication_date": "2015-03-20T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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Untitled (Disks) is a 1972 work by the Brazilian artist Mira Schendel comprising a circular piece of thin, ivory-coloured paper, sandwiched between two acrylic sheets, on both sides of which is printed transfer lettering and graphite inscriptions. A cluster of letters and numbers covers most of the upper part of the disk-shaped piece of paper, some in black and some in a faint grey, and these have been overlaid so that in places it is unclear where one symbol ends and another begins. To the side of this is another, smaller cluster of letters and numbers that is less tightly packed, so that some symbols stray from the group. Surrounding these two clusters is a background of dispersed letters and symbols in a much smaller and more rounded typeface, and the inscription ‘Mira 1972’ appears very lightly in pencil at the bottom of the work. Four pins have been used to hold the layered form in place, positioned equidistantly at the top, bottom, left and right edges of the shape. When exhibited, Untitled (Disks) is suspended from a nylon fishing wire that is attached to the sculpture via a hole at the upper edge of its circular form, so that it dangles at roughly the viewer’s eye level with a delicate twisting movement.

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9636

paper unique transfer lettering graphite between acrylic sheets 4 pins nylon fishing wire

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Untitled (Disks)

1,972

Tate

1972

CLEARED

5

support: 270 × 270 × 7 mm

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a> 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nUntitled (Disks) is a 1972 work by the Brazilian artist Mira Schendel comprising a circular piece of thin, ivory-coloured paper, sandwiched between two acrylic sheets, on both sides of which is printed transfer lettering and graphite inscriptions. A cluster of letters and numbers covers most of the upper part of the disk-shaped piece of paper, some in black and some in a faint grey, and these have been overlaid so that in places it is unclear where one symbol ends and another begins. To the side of this is another, smaller cluster of letters and numbers that is less tightly packed, so that some symbols stray from the group. Surrounding these two clusters is a background of dispersed letters and symbols in a much smaller and more rounded typeface, and the inscription ‘Mira 1972’ appears very lightly in pencil at the bottom of the work. Four pins have been used to hold the layered form in place, positioned equidistantly at the top, bottom, left and right edges of the shape. When exhibited, Untitled (Disks) is suspended from a nylon fishing wire that is attached to the sculpture via a hole at the upper edge of its circular form, so that it dangles at roughly the viewer’s eye level with a delicate twisting movement.\n\nUntitled (Disks) was made by Schendel in São Paulo, Brazil, in 1972 and was first exhibited in Mira Schendel: Através: Acrílicos, Linhas, Transformáveis, Toquinhos, Bordados, Fórmica, Espirais, Discos, Outros Desenhos at Galeria Ralph Camargo in São Paulo later that year. The work is part of the wider Disks series that Schendel created in 1972, which consists of flat, circular objects formed from transparent sheets of acrylic with printed paper inside, as is seen in Untitled (Disks). Schendel used Letraset printing, a type of pre-manufactured dry transfer lettering, for the larger letters and numbers in this work, while the smaller ones were rendered in graphite. Suspended in space, with the letters’ arrangement determined by their circular boundary, Schendel intended for works such as Untitled (Disks) to be experienced in-the-round in the manner of a sculpture. In an undated statement regarding her use of acrylic sheets, the artist explained that this material offered the possibility of ‘a circular reading where the lettering constitutes a fixed centre around which the viewer moves’ (Schendel in Barson and Palhares (eds.) 2013, p.197).\nAlthough Schendel describes the experience of the work as one of ‘reading’, the jumbling of the letters and their varying sizes and tones suggest that they are marks to be looked at rather than constituents of words to be read. This is further enhanced by the way in which the artist disrupts the conventionally linear mode of two-dimensional language by placing it within a three-dimensional object that moves in space. As the aesthetic philosopher Max Bense (whom Schendel met in Stuttgart in 1967) has stated of the artist’s practice: ‘graphic reduction … suspends linguistic structure in favour of pictorial structure’ (quoted in Barson and Palhares (eds.) 2013, p.15). In accordance with this, in Untitled (Disks) Schendel breaks language up to its constituent parts to form a graphic palimpsest of linguistic symbols.\nSuch an approach could be attributed in part to the artist’s close friendship with Haroldo de Campos, one of the leaders of the Concrete Poetry movement in Brazil whom Schendel met in 1955 at the third Bienal de São Paulo. In an untitled poem published in 1966 on the occasion of Schendel’s exhibition at the Museu de Arte Moderna in Rio de Janeiro, De Campos described the artist’s approach as ‘an art of words and quasi-words / where the graphic form veils and unveils and seals and unseals’ (quoted in Barson and Palhares (eds.) 2013, p.19). The alphabet was further abstracted by Schendel in her Little Stubs series of 1973, in which individual Letraset signs, groupings of letters and numerical symbols were encased in rectangular pieces of acrylic (see Untitled 1973, private collection, reproduced in Barson and Palhares (eds.) 2013, p.144). As the critic Laura Fried has noted of Schendel’s continued interest in pictorial as opposed to semiotic elements of language, ‘the Letraset alphabet would appear again and again, not as units of signification but as drifting letters, excised from a system, inscribed as abstraction and as mute images operating apart from spoken language’ (Fried 2013, accessed 2 December 2014).\n\nFurther reading\n Laura Fried, ‘Mira Schendel’, Frieze, no.157, September 2013, <a href=\"http://www.frieze.com/issue/review/mira-schendel/\">http://www.frieze.com/issue/review/mira-schendel/</a>, accessed 2 December 2014. Tanya Barson and Taisa Palhares (eds.), Mira Schendel, exhibition catalogue, Tate Modern, London 2013, reproduced p.143.\nAlice Butler December 2014\n\nSupported by Christie’s.\n\n</div>\n", "display_name": "Summary", "publication_date": "2015-03-18T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "abstraction", "inscriptions", "letter of alphabet", "non-representational", "number", "symbols and personifications", "text" ]

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9 monotypes on paper between 2 perspex sheets, pins and nylon fishing wire

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Genesis

2,013

Sem titulo (Gênese)

[]

Presented by the American Fund for the Tate Gallery 2012

T13709

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Untitled (Genesis) comprises a row of nine rectangular leaves of thin off-white paper held between two sets of horizontally oriented plastic sheets, with five leaves appearing in one sheet and four in the other. The pieces of paper feature shapes and handwritten words in Portuguese, English and French. The first sheet in the left hand panel shows a small cluster of words forming a circle; in the second, words such as ‘vazia’ (Portuguese for ‘empty’) are similarly clustered but less tightly bound to a circle formation; in the third, the words ‘dia’ (Portuguese for ‘day’) and ‘write’ appear above and below a horizontal line; in the fourth, a block of handwriting sits at the bottom edge of the paper while at the top edge is written the Portuguese word ‘ceus’ (‘heavens’); and in the fifth, the artist’s rough script is inscribed along a line at a forty-five degree angle. In the first of the group of monotypes located in the right hand panel, Schendel has drawn a large circle with a smaller circle to its bottom right, with loose text in three clusters appearing around and between the circles; in the second, a block of text is covered with a wave-like scribble; in the third is a phrase in a thick capitalised font with smaller text above and below it; and on the final sheet are two vertically aligned texts connected by a downward-pointing arrow, separated from the rest of the page by a curved line, outside of which floats a gestural scrawl of writing. Schendel’s fingerprints are visible on each of the pieces of paper and they have all been signed ‘Mira 1965’ at the bottom right hand corner. When the work is exhibited, fishing wire is used to hang the two plastic forms side by side at roughly eye level and slightly away from the wall, so that they appear to be floating.

false

1

https://media.tate.org.u…13/T13709_10.jpg

9636

paper unique 9 monotypes between 2 perspex sheets pins nylon fishing wire

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Untitled (Genesis)

1,965

Tate

1965

CLEARED

5

Left panel of 5 monotypes: 612 × 1537 × 8 mm Right panel of 4 monotypes: 612 × 1237 × 8 mm Individual monotypes: 465 × 229 mm

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a> 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nUntitled (Genesis) comprises a row of nine rectangular leaves of thin off-white paper held between two sets of horizontally oriented plastic sheets, with five leaves appearing in one sheet and four in the other. The pieces of paper feature shapes and handwritten words in Portuguese, English and French. The first sheet in the left hand panel shows a small cluster of words forming a circle; in the second, words such as ‘vazia’ (Portuguese for ‘empty’) are similarly clustered but less tightly bound to a circle formation; in the third, the words ‘dia’ (Portuguese for ‘day’) and ‘write’ appear above and below a horizontal line; in the fourth, a block of handwriting sits at the bottom edge of the paper while at the top edge is written the Portuguese word ‘ceus’ (‘heavens’); and in the fifth, the artist’s rough script is inscribed along a line at a forty-five degree angle. In the first of the group of monotypes located in the right hand panel, Schendel has drawn a large circle with a smaller circle to its bottom right, with loose text in three clusters appearing around and between the circles; in the second, a block of text is covered with a wave-like scribble; in the third is a phrase in a thick capitalised font with smaller text above and below it; and on the final sheet are two vertically aligned texts connected by a downward-pointing arrow, separated from the rest of the page by a curved line, outside of which floats a gestural scrawl of writing. Schendel’s fingerprints are visible on each of the pieces of paper and they have all been signed ‘Mira 1965’ at the bottom right hand corner. When the work is exhibited, fishing wire is used to hang the two plastic forms side by side at roughly eye level and slightly away from the wall, so that they appear to be floating.\n\nUntitled (Genesis) was made by the Brazilian artist Mira Schendel in São Paulo, Brazil, in 1965. The work belongs to Schendel’s Monotypes series that consists of more than two thousand works on paper produced from 1964 to 1967. For this series Schendel developed a ‘transfer drawing’ process that involved covering a glass or acrylic surface with oil paint before laying a sheet of paper over it and then tracing lines, writing and symbols with her fingertips or a tool to make the gestural impressions seen in the final work. Schendel used this technique in many of her works on paper, regarding the marks left by this ‘movement of the hand’ as traces of the artist’s body (Schendel in Barson and Palhares 2013, p.202). In Untitled (Genesis), each sheet of paper has been glued to the plastic along its top edge and pinned to it at the paper’s upper left and upper right corners.\nThe Monotypes were created in a number of small groups over the course of 1964–7 and for the cluster of which Untitled (Genesis) is a part Schendel began using the shapes formed by language to investigate its materiality and its origin. The title of the work is therefore not only a direct reference to the Biblical creation story that is alluded to in some of the handwritten words on the paper – such as in the eighth sheet, the text on which translates from the Portuguese as: ‘Let us make man in our image and likeness’ – but also to the structures of language we absorb during our lifetime. Schendel has described the Monotypes as ‘the result of a hitherto frustrated attempt to capture discourse at its moment of origin … in a text predating the literal and logical’ (Schendel in Pérez-Oramas 2009, p.28).\nBorn in Switzerland a Jew, but raised in Italy a Catholic, Schendel left Europe for Brazil in 1949, settling in São Paulo four years later. These years of geographical and religious displacement might explain the artist’s multilingual presentation of the creation story in Untitled (Genesis). However, while Schendel has explored themes relating to Catholicism in several of her works, this is always contextualised by philosophical approaches such as the language games of Ludwig Wittgenstein (1889–1951) and the Chinese mysticism of the ancient I Ching.\nIt was in São Paulo that Schendel met Haroldo de Campos, one of the founders of Brazilian Concrete Poetry, and as a consequence became interested in the written word as an object and image, independent of its conventional expressive or communicative capabilities. Such ideas are reflected in Untitled (Genesis), in which the transparency of the paper and plastic, along with its hanging method of display, means that the viewer experiences the work in three-dimensional space and reads its words in no specific order.\n\nUntitled (Genesis) was first exhibited in a retrospective exhibition of Schendel’s work in Rio de Janeiro in 1966 and was displayed again later that year at Signals Gallery in London.\n\nFurther reading\n Chris Fite-Wassilak, ‘Mira Schendel’, Frieze, no.125, September 2009, <a href=\"http://www.frieze.com/issue/review/mira_schendel/\">http://www.frieze.com/issue/review/mira_schendel/</a>, accessed 5 December 2014. Luiz Pérez-Oramas, León Ferrari and Mira Schendel: Tangled Alphabets, exhibition catalogue, Museum of Modern Art, New York 2009. Tanya Barson and Taisa Palhares (eds.), Mira Schendel, exhibition catalogue, Tate Modern, London 2013, pp.12, 23, reproduced pp.112–13.\nAlice Butler December 2014\n\nSupported by Christie’s.\n</div>\n", "display_name": "Summary", "publication_date": "2015-10-12T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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CreatureMaquette 320

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Bicho-Maquete (320)

[]

Presented by the American Fund for the Tate Gallery 2012

T13710

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Lygia Clark was fascinated by the transformations she observed in both natural and man-made things. From the late 1950s onwards she questioned the idea that a painting or sculpture should always remain the same. She began to create works that would be changed by human interaction. Rather than hanging on the wall, they occupied the same space as the viewer. Instead of a static object, they offered a series of moveable surfaces. Clark described such artworks as being caught ‘in the act of becoming’.Gallery label, January 2022

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Creature-Maquette (320)

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Tate

1964

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unconfirmed

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Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a> 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThis work is an aluminium sculpture by the Brazilian artist Lygia Clark. It is an articulated work formed from twelve identical triangular pieces of aluminium sheeting along with a further six pieces cut into quarter-circle-shaped segments, all of which are hinged together with steel pins. It can be moved by hand into a variety of configurations and thus has no fixed shape or dimensions, and as such it appears as a combination of crisp geometric lines and curved edges, which change in their interrelationships when its hinges are manipulated. Depending on its arrangement, the shiny surface of the sculpture reflects light in a way that is unique to that formation. The hinges themselves are an integral part of this sculpture, and not simply functional elements that allow the viewer to change its shape, since they seem to represent the poetic and fluid nature of the work and its participatory quality.\n\nCreature-Maquette (320) (or Bicho-Maquete (320) in Portuguese) was made in 1964 when Clark was living and working Rio de Janeiro, Brazil. From 1959 and into the 1960s the artist made a series of geometric, hinged aluminium sculptures which she titled Bichos – a term that translates from Portuguese to English as ‘Creatures’ – for which this sculpture is a working maquette or model. Clark stated in 1960 that ‘I gave the name Bichos to my works of this period, because their characteristics are fundamentally organic. Furthermore, the hinge between the planes reminds me of a backbone’ (quoted in Butler and Pérez-Oramas 2014, p.160). Clark’s fascination with the hinge stemmed from her admiration for this basic element in architecture in the form of the physical joints between doors and windows. For Clark, hinges contained great potential for authentic spatial harmony, as well as representing the intersecting bones in an animal’s body (see Butler and Pérez-Oramas 2014, p.73).\nThe Bicho works were intended to be manipulated by hand so that they offered multiple possible forms that could only be determined through the participation of the viewer, as Clark has explained:\n\n<blockquote>The Bicho has its own circuit of movements that reacts to the beholder’s stimuli. It is not composed of still, independent forms that can be indefinitely handled at will, as in a game. On the contrary, its parts are functionally related to each other, as in a real organism. Their movement is independent. (Quoted in Butler and Pérez-Oramas 2014, p.160.)</blockquote>\nThis aspect of the work indicates Clark’s increasing interest during the 1960s in the interpretation of art as a lived experience that emphasises sensory and bodily encounters with form. As the art historian Zeuler Lima has observed, ‘less than practicing at the edge of art, as some of her commentators have suggested, Clark incessantly – and sometimes painfully – searched for a renovated purposes in art … she expanded their reach to sensorial and existential dimensions’ (Lima in Butler and Pérez-Oramas 2014, p.75).\n\nCreature-Maquette (320) and other Bicho works produced by Clark in the 1950s and 1960s can be seen in the context of the artist’s broader approach to abstraction. Clark rejected the rationalist attitude towards abstract art based on geometry and mathematics that was propounded by the concrete art movement in Brazil at this time, instead asserting that abstract compositions should be open to poetic expression and audience involvement. Clark, along with other Brazilian artists such as Hélio Oiticica, formed the neo-concrete movement in Brazil in 1959, and her abstract sculptures of the 1950s and first half of the 1960s, such as this one owned by Tate, reflect these new concerns while also indicating Clark’s transition from her previously more representational work towards abstract spatial arrangements (see Butler and Pérez-Oramas 2014, p.74). This can also be seen in her series of Matchbox Structures that she began to produce in the same year that she created Creature-Maquette (320), which are made from assemblages of matchboxes held together with glue and painted with a gouache finish, and are small enough to be held in the hand.\n\nFurther reading\n Dawn Ades (ed.), Art in Latin America: The Modern Era 1820–1980, New Haven and London 1989, pp.219–21. Monica Amor, ‘From Work to Frame, In Between, and Beyond: Lygia Clark and Hélio Oiticica, 1959–1964’, Grey Room, vol.38, no.38, 2010, pp.20–37. Cornelia H. Butler and Luis Pérez-Oramas, Lygia Clark: The Abandonment of Art, 1948–1988, exhibition catalogue, Museum of Modern Art, New York 2014.\nLouise Hughes April 2015\n\nSupported by Christie’s.\n\n</div>\n", "display_name": "Summary", "publication_date": "2015-10-12T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nLygia Clark was fascinated by the transformations she observed in both natural and man-made things. From the late 1950s onwards she questioned the idea that a painting or sculpture should always remain the same. She began to create works that would be changed by human interaction. Rather than hanging on the wall, they occupied the same space as the viewer. Instead of a static object, they offered a series of moveable surfaces. Clark described such artworks as being caught ‘in the act of becoming’. \n</div>\n", "display_name": "Display caption", "publication_date": "2022-01-14T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "abstraction", "emotions, concepts and ideas", "formal qualities", "geometric", "movement", "non-representational" ]

null

false

226 6744 185

false

artwork

Graphite and gouache on paper

[ { "append_role_to_name": false, "date": "1920–1988", "fc": "Lygia Clark", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/lygia-clark-7714" } ]

118,196

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1,957

<a href="https://www.tate.org.uk/art/artists/lygia-clark-7714" aria-label="More by Lygia Clark" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Lygia Clark</a>

Planes on Modulated Surface 56

2,013

Planos em superficie modulada (estudo) (56)

[]

Presented by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee 2012

T13711

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

17894

1020827 7006237 7002457 1000047 1000002 7017095 1001942

Lygia Clark

1,957

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These drawings show Clark working through a number of variations on a theme. They explore different relationships of plane and line, but result in a sense of three-dimensional sculptural form articulated on a flat surface by the areas of light and shade, positive and negative. The composition suggests a series of folds along linear divisions, perhaps anticipating her later sculptural works titled ‘Creatures’ which are composed of hinged aluminium plates.Gallery label, May 2012

false

1

https://media.tate.org.u…13/T13711_10.jpg

7714

paper unique graphite gouache

[ { "artistRoomsTour": false, "dateText": "21 October 2011 – 15 April 2012", "endDate": "2012-04-15", "exhibitionLegs": [ { "dateText": "21 October 2011 – 15 April 2012", "endDate": "2012-04-15", "id": 6421, "startDate": "2011-10-21", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 5243, "startDate": "2011-10-21", "title": "Gallery One, New Vision Centre, Signals, Indica", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "14 October 2014 – 10 May 2015", "endDate": "2015-05-10", "exhibitionLegs": [ { "dateText": "14 October 2014 – 10 May 2015", "endDate": "2015-05-10", "id": 8962, "startDate": "2014-10-14", "venueName": "Tate St Ives (St Ives, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/stives/" } ], "id": 7352, "startDate": "2014-10-14", "title": "The Modern Lens: International Photography and the Tate Collection", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "2 October 2024 – 12 January 2025", "endDate": "2025-01-12", "exhibitionLegs": [ { "dateText": "2 October 2024 – 12 January 2025", "endDate": "2025-01-12", "id": 15988, "startDate": "2024-10-02", "venueName": "Whitechapel Gallery (London, UK)", "venueWebsiteUrl": "http://www.whitechapel.org/" } ], "id": 13115, "startDate": "2024-10-02", "title": "Lygia Clark", "type": "Loan-out" } ]

Planes on Modulated Surface (Study) (56)

1,957

Tate

1957

CLEARED

5

unconfirmed: 250 × 350 mm Current frame: 390 × 530 × 20 mm original frame: 456 × 558 × 30 mm

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the Latin American Acquisitions Committee 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nPlanes on Modulated Surface (Study) (56) is a work in graphite pencil and gouache on paper produced in 1957 by the Brazilian artist Lygia Clark. It depicts partial views of two cuboid forms positioned diagonally across a rectangular, horizontally orientated sheet of paper. The compositional elements are drawn within a rectilinear frame outlined in dark graphite, leaving a narrow margin alongside the outer edges of the paper. The side planes of the rectangular shapes in the composition are rendered in medium grey and dark grey tones with gouache paint, with the foremost planes left uncoloured, creating the effect of light and shade. The edges of these geometric forms are drawn in graphite pencil.\n\nPlanes on Modulated Surface (Study) (56) is part of a series of preparatory drawings and paintings which Clark produced between 1954 and 1958 when she was living and working in Rio de Janeiro, Brazil. These works all feature variations on the theme of the plane, the square and other geometrical motifs (see also Planes on Modulated Surface (Study) (61) 1957, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/clark-planes-on-modulated-surface-study-61-t13712\" title=\"View the details of this artwork\">T13712</a>). More specifically, the artist created Planes on Modulated Surface (56) in 1957, preceded by Modulated Surfaces, which she began to make in 1955 and completed in 1957. These works are experiments that explore the properties of ‘real space’, its relationship to geometric abstract forms, and the creation of fictive, illusionistic space in painting. Their compositional elements interchange between figure and ground without imposing a set hierarchy between the two. During the same period, Clark also produced a series of paintings titled Counter-reliefs, in which she explored similar issues related to real and pictorial space. As Clark wrote in 1960:\n\n<blockquote>The plane is a concept invented by man with a practical objective: to satisfy the need for balance … Demolishing the plane as support of expression is to gain awareness of unity as a living and organic whole. We exist, and now the moment has come to reunite all the fragments of the kaleidoscope into which the idea of man was broken, reduced to pieces … The crutches that protected him fall far from his arms. He feels like a child which must learn to balance himself in order to survive. (Clark in Butler 2014, pp.158–9.)</blockquote>\nWith her Modulated Surfaces and Planes on Modulated Surface studies, Clark explores the different relationships between planes, lines and the resulting abstract forms in generating three-dimensional spatial possibilities on a flat surface.\nThese artworks anticipate Clark’s Bichos (‘Creatures’) that the artist made in 1959 and during the 1960s. The Bichos consist of structures made of hinged aluminium plates which, when displayed, were intended to be moved by hand by the viewer (see, for instance, Creature-Maquette (320) 1964, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/clark-creature-maquette-320-t13710\" title=\"View the details of this artwork\">T13710</a>). With the Bichos, Clark carried on her exploration of the transition of form from the pictorial into three-dimensional space.\n\nFurther reading\n Guy Brett, Manuel J. Borja-Villel, Paulo Herkenhoff and others, Lygia Clark, exhibition catalogue, Fundacio Antoni Tapies, Barcelona 1998. Monica Amor, ‘From Work to Frame, In Between, and Beyond: Lygia Clark and Hélio Oiticica, 1959–1964’, Grey Room, no.38, 2010, pp.20–37. Cornelia H. Butler and Luis Pérez-Oramas (eds.), Lygia Clark: The Abandonment of Art, 1948–1988, Museum of Modern Art, New York 2014.\nNatasha Adamou May 2016\n\nSupported by Christie’s.\n\n</div>\n", "display_name": "Summary", "publication_date": "2017-02-07T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThese drawings show Clark working through a number of variations on a theme. They explore different relationships of plane and line, but result in a sense of three-dimensional sculptural form articulated on a flat surface by the areas of light and shade, positive and negative. The composition suggests a series of folds along linear divisions, perhaps anticipating her later sculptural works titled ‘Creatures’ which are composed of hinged aluminium plates.\n</div>\n", "display_name": "Display caption", "publication_date": "2012-05-07T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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

null

false

226 9663 185

false

artwork

Graphite and gouache on paper

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118,197

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1,957

<a href="https://www.tate.org.uk/art/artists/lygia-clark-7714" aria-label="More by Lygia Clark" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Lygia Clark</a>

Planes on Modulated Surface 61

2,013

Planos em superficie modulada (estudo) (61)

[]

Presented by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee 2012

T13712

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

17894

1020827 7006237 7002457 1000047 1000002 7017095 1001942

Lygia Clark

1,957

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These drawings show Clark working through a number of variations on a theme. They explore different relationships of plane and line, but result in a sense of three-dimensional sculptural form articulated on a flat surface by the areas of light and shade, positive and negative. The composition suggests a series of folds along linear divisions, perhaps anticipating her later sculptural works titled ‘Creatures’ which are composed of hinged aluminium plates.Gallery label, May 2012

false

1

https://media.tate.org.u…13/T13712_10.jpg

7714

paper unique graphite gouache

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Planes on Modulated Surface (Study) (61)

1,957

Tate

1957

CLEARED

5

image: 250 × 350 mm Current frame: 390 × 530 × 20

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the Latin American Acquisitions Committee 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nPlanes on Modulated Surface (Study) (61) is a work in graphite pencil and gouache on paper produced in 1957 by the Brazilian artist Lygia Clark. It depicts partial views of two cuboid forms in perspective as if seen from above. The forms are arranged across a rectangular, horizontally orientated sheet of paper and are drawn within a rectilinear frame outlined in dark graphite, leaving a narrow margin alongside the paper’s outer edges. The top and the front planes of the geometric form on the left of the composition are painted in a medium grey tone with gouache paint, while the right plane is divided into two triangles painted in black and grey. In the cubic form on the right of the composition, the partially visible front plane is painted black, while the top and right planes are light beige. These tonal variations create the effect of light and shade in the composition.\n\nPlanes on Modulated Surface (Study) (61) is part of a series of preparatory drawings and paintings which Clark produced between 1954 and 1958 when she was living and working in Rio de Janeiro, Brazil. These works all feature variations on the theme of the plane, the square and other geometrical motifs (see also Planes on Modulated Surface (Study) (56) 1957, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/clark-planes-on-modulated-surface-study-56-t13711\" title=\"View the details of this artwork\">T13711</a>). More specifically, the artist created Planes on Modulated Surface (61) in 1957, preceded by Modulated Surfaces, which she began to make in 1955 and completed in 1957. These works are experiments that explore the properties of ‘real space’, its relationship to geometric abstract forms, and the creation of fictive, illusionistic space in painting. Their compositional elements interchange between figure and ground without imposing a set hierarchy between the two. During the same period, Clark also produced a series of paintings titled Counter-reliefs, in which she explored similar issues related to real and pictorial space. As Clark wrote in 1960:\n\n<blockquote>The plane is a concept invented by man with a practical objective: to satisfy the need for balance … Demolishing the plane as support of expression is to gain awareness of unity as a living and organic whole. We exist, and now the moment has come to reunite all the fragments of the kaleidoscope into which the idea of man was broken, reduced to pieces … The crutches that protected him fall far from his arms. He feels like a child which must learn to balance himself in order to survive. (Clark in Butler 2014, pp.158–9.)</blockquote>\nWith her Modulated Surfaces and Planes on Modulated Surface studies, Clark explores the different relationships between planes, lines and the resulting abstract forms in generating three-dimensional spatial possibilities on a flat surface.\nThese artworks anticipate Clark’s Bichos (‘Creatures’) that the artist made in 1959 and during the 1960s. The Bichos consist of structures made of hinged aluminium plates which, when displayed, were intended to be moved by hand by the viewer (see, for instance, Creature-Maquette (320) 1964, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/clark-creature-maquette-320-t13710\" title=\"View the details of this artwork\">T13710</a>). With the Bichos, Clark carried on her exploration of the transition of form from the pictorial into three-dimensional space.\n\nFurther reading\n Guy Brett, Manuel J. Borja-Villel, Paulo Herkenhoff and others, Lygia Clark, exhibition catalogue, Fundacio Antoni Tapies, Barcelona 1998. Monica Amor, ‘From Work to Frame, In Between, and Beyond: Lygia Clark and Hélio Oiticica, 1959–1964’, Grey Room, no.38, 2010, pp.20–37. Cornelia H. Butler and Luis Pérez-Oramas (eds.), Lygia Clark: The Abandonment of Art, 1948–1988, Museum of Modern Art, New York 2014.\nNatasha Adamou May 2016\n\nSupported by Christie’s.\n\n</div>\n", "display_name": "Summary", "publication_date": "2017-02-07T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThese drawings show Clark working through a number of variations on a theme. They explore different relationships of plane and line, but result in a sense of three-dimensional sculptural form articulated on a flat surface by the areas of light and shade, positive and negative. The composition suggests a series of folds along linear divisions, perhaps anticipating her later sculptural works titled ‘Creatures’ which are composed of hinged aluminium plates.\n</div>\n", "display_name": "Display caption", "publication_date": "2012-05-07T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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

null

false

226 9663 185

false

artwork

Film, 16mm, 5 projections, black and white and sound

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118,201

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2,003

<a href="https://www.tate.org.uk/art/artists/ellen-gallagher-9553" aria-label="More by Ellen Gallagher" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Ellen Gallagher</a>, <a href="https://www.tate.org.uk/art/artists/edgar-cleijne-10518" aria-label="More by Edgar Cleijne" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Edgar Cleijne</a>

Murmur

2,013

[]

Presented by the American Fund for the Tate Gallery, courtesy of the American Acquisitions Committee 2012

T13713

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

1002808 7007711 7012149

Ellen Gallagher, Edgar Cleijne

2,003

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false

1

https://media.tate.org.u…13/T13713_10.jpg

9553 10518

installation film 16mm 5 projections black white sound

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Murmur

2,003

Tate

2003–4

CLEARED

3

Overall display dimensions variable

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the American Acquisitions Committee 2012

[]

[ "adults", "body", "cultural identity", "emotions, concepts and ideas", "formal qualities", "head / face", "history", "lifestyle and culture", "light", "people", "photographic", "politics and society", "science fiction", "sea", "seascapes and coasts", "shipwreck", "slavery", "social comment", "society", "society: black history", "transport: water", "woman" ]

null

false

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artwork

Video, monitor or projection, colour and sound

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118,211

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1,989

<a href="https://www.tate.org.uk/art/artists/andrea-fraser-9439" aria-label="More by Andrea Fraser" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Andrea Fraser</a>

Museum Highlights A Gallery Talk

2,013

[]

Presented by the American Fund for the Tate Gallery, courtesy of the American Acquisitions Committee 2012

T13715

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

7007524 7012149

Andrea Fraser

1,989

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Museum Highlights: A Gallery Talk 1989 is a single channel colour video in which the American artist Andrea Fraser leads a tour of the Philadelphia Museum of Art in the guise of a fictional docent named Jane Castleton. Dressed in a smart grey suit, Castleton, who introduces herself as a ‘guest’, ‘a volunteer’ and ‘an artist’, speaks directly to the camera as she walks around the museum. Alongside conventional elements of a gallery tour – such as the history of the institution and its collection – Castleton offers her thoughts on the building’s toilets, cloakroom and shop. She also pronounces, in strange digressions and with great passion, on broader political and social ideas. The language Fraser employs in her performance appears to be a parody of the descriptions commonly provided by docents, with Castleton applying extensive and exaggerated praise to the items she encounters. There is often an odd disjuncture between the docent’s words and the objects she is describing, such as when she points to an exit sign and claims, ‘this picture is a brilliant example of a brilliant school’. Throughout the tour Castleton repeatedly returns to questions of personal taste, and the notions of grace, dignity and order that she feels artworks, museums and gallery visitors should embody.

false

1

https://media.tate.org.u…13/T13715_10.jpg

9439

installation video monitor or projection colour sound

[ { "artistRoomsTour": false, "dateText": "5 July 2019 – 24 November 2019", "endDate": "2019-11-24", "exhibitionLegs": [ { "dateText": "5 July 2019 – 24 November 2019", "endDate": "2019-11-24", "id": 13702, "startDate": "2019-07-05", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11314, "startDate": "2019-07-05", "title": "Andrea Fraser", "type": "Collection based display" } ]

Museum Highlights: A Gallery Talk

1,989

Tate

1989

CLEARED

3

unconfirmed: 29min

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the American Acquisitions Committee 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nMuseum Highlights: A Gallery Talk 1989 is a single channel colour video in which the American artist Andrea Fraser leads a tour of the Philadelphia Museum of Art in the guise of a fictional docent named Jane Castleton. Dressed in a smart grey suit, Castleton, who introduces herself as a ‘guest’, ‘a volunteer’ and ‘an artist’, speaks directly to the camera as she walks around the museum. Alongside conventional elements of a gallery tour – such as the history of the institution and its collection – Castleton offers her thoughts on the building’s toilets, cloakroom and shop. She also pronounces, in strange digressions and with great passion, on broader political and social ideas. The language Fraser employs in her performance appears to be a parody of the descriptions commonly provided by docents, with Castleton applying extensive and exaggerated praise to the items she encounters. There is often an odd disjuncture between the docent’s words and the objects she is describing, such as when she points to an exit sign and claims, ‘this picture is a brilliant example of a brilliant school’. Throughout the tour Castleton repeatedly returns to questions of personal taste, and the notions of grace, dignity and order that she feels artworks, museums and gallery visitors should embody.\n\nMuseum Highlights originated as part of a lecture series organised by the Tyler School of Art in Philadelphia, with Fraser delivering five performances as Jane Castleton to visitors of the Philadelphia Museum of Art in February 1989. This filmed version of the tour, which does not feature a live audience, was shot and edited later in 1989. A script of Fraser’s performance was subsequently published with stage directions and footnotes in a German translation in 1990 (in the journal Durch) and in English in 1991 (in the journal October; see Fraser 1991, pp.104–22). The text incorporates multiple sources, listed in the credit sequence at the end of the film although mostly unacknowledged by Castleton during the tour, including historical documents relating to the establishment of the Philadelphia Museum of Art, biographical information about the museum’s donors, and quotations from philosophers, sociologists and political theorists.\nFraser created the persona of Jane Castleton after the American artist Allan McCollum suggested that she explore the role of the museum docent. Her first gallery tour, Damaged Goods Gallery Talk Starts Here 1986, involved a series of performances as Castleton, which were not filmed, at the New Museum of Contemporary Art in New York. For Fraser, ‘Jane Castleton is neither a character nor an individual. She is an object, a site determined by a function. As a docent, she is the museum’s representative, and her function is, quite simply, to tell visitors what the museum wants – that is, to tell them what they can give to satisfy the museum’ (Fraser 2007, p.242).\nIn satirical fashion Castleton’s speeches in Museum Highlights draw particular attention to the assumptions that have historically been placed on the value of art, especially in relation to notions of class. For example, the docent claims during the tour, ‘The public, who buy clothes and table china and inexpensive jewelry, must be forced to raise their standards of taste by seeing the masterpieces of other civilizations and other centuries’. As art historian Alexander Alberro explains, ‘Fraser does not critique just the institution of the museum; by extension, she also analyzes the type of viewer the museum produces and the process of identification that artists embody’ (Alexander Alberro, ‘Introduction: Mimicry, Excess, Critique’, in Fraser 2007, p.xxvii).\nAlthough Fraser abandoned the persona of Castleton after completing Museum Highlights, she continued her interest in the role of the docent in Welcome to the Wadsworth 1991, a live performance and subsequent video work involving a tour of the exterior of the Wadsworth Atheneum in Connecticut during which the institution’s relationship to the surrounding area is discussed. In her video Little Frank and His Carp 2001 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/fraser-little-frank-and-his-carp-t12324\" title=\"View the details of this artwork\">T12324</a>), Fraser performed as a visitor rather than a docent, walking around the atrium of the Guggenheim Museum Bilbao listening to the institution’s official audio guide and enacting a series of increasingly sexual gestures in response to descriptions of the building’s architecture.\nFraser’s interest in exploring the purpose of art institutions, the official policies and unspoken assumptions that support their work, and the different roles played by individuals within the art world, have seen her work closely associated with the idea of institutional critique. This mode of practice, exemplified by the work of artists such as Hans Haacke and Michael Asher, emerged in the 1960s to examine the structures and ideologies underpinning museums and galleries.\n\nFurther reading\n Andrea Fraser, ‘Museum Highlights: A Gallery Talk’, October, vol.57, Summer 1991, pp.104–22. Yilmaz Dziewior (ed.), Andrea Fraser: Works 1984–2003, exhibition catalogue, Kunstverein in Hamburg, Hamburg 2003, pp.114–15, 244–53. Andrea Fraser, Museum Highlights: The Writings of Andrea Fraser, Cambridge, Massachusetts 2007, pp.95–114.\nRichard Martin July 2014\n\nSupported by Christie’s.\n\n</div>\n", "display_name": "Summary", "publication_date": "2014-08-01T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "actions: expressive", "adults", "art and craft", "art appreciation", "artist, multi-media", "arts and entertainment", "cities, towns, villages (non-UK)", "clothing and personal items", "countries and continents", "Fraser, Andrea", "gesticulating", "group", "groups", "interiors", "leisure and pastimes", "man", "museum", "museum guide", "named individuals", "objects", "people", "Philadelphia, Philadelphia Museum of Art", "places", "places of entertainment", "public and municipal", "restaurant", "spectacles", "suit", "talking", "USA, Pennsylvania", "woman", "work and occupations" ]

null

false

177 51 7203 13610 118 88 21149 1070 799 97 195 8634 33916 43 44 1270 203 846 712 15880 167

false

artwork

Acrylic paint and graphite on canvas

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118,213

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1,991

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

5

2,013

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Presented by the American Fund for the Tate Gallery, courtesy of Milly and Arne Glimcher in honour of Anthony d'Offay and ARTIST ROOMS 2012

T13717

{ "id": 6, "meta": { "type": "art.Classification" } }

430

7005685 2001457 7007566 7012149

Agnes Martin

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Before 1993, Martin used a six-foot (2 metre) square canvas for her paintings. This size appealed to her for its enveloping relationship with the viewer’s body. She saw it as ‘a size you can walk into’. Martin found the large canvas increasingly difficult to handle as she grew older. She made the decision to reduce the size to a five-foot (1.5 metre) square. This canvas still takes up most of the viewer’s visual field, allowing them to absorb the subtle variations in line, tone and texture without distraction.Gallery label, June 2021

false

1

https://media.tate.org.u…13/T13717_10.jpg

1583

painting acrylic paint graphite canvas

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Untitled #5

1,991

ARTIST ROOMS Tate and National Galleries of Scotland

1991

CLEARED

6

support: 1829 × 1829 mm frame: 1852 × 1852 × 50 mm

accessioned work

ARTIST ROOMS Tate and National Galleries of Scotland

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of Milly and Arne Glimcher in honour of Anthony d'Offay and <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a> 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nUntitled #5 is an abstract painting by the Canadian-American artist Agnes Martin. This six-foot square canvas is painted with four equidistant horizontal stripes in dark grey on a light grey background. The paint is opaque, and there are slight variations in tone visible in the darker bands. The brushstrokes are just visible and run horizontally across the canvas. Up close, minor imperfections at the edges of each stripe are visible.\nMartin started this painting by priming the canvas in acrylic gesso, and then measured out the divisions of the stripes, using a small ruler to draw horizontal pencil lines across the canvas. She used masking tape to get a crisp edge to each stripe, painted using undiluted grey acrylic paint. Earlier in her career Martin used oil paints, but by 1966 she was using acrylics almost exclusively, favouring Liquitex – the first commercially produced water-based acrylic emulsion available in the United States – for its matte translucent finish. The artist applied the colour in vertical stripes in order to prevent the paint from dripping outside the lines of the stripes, before rotating the canvas by ninety degrees once the paint was dry.\nMartin first began to produce grey abstract paintings when she moved to Galisteo, New Mexico, in 1977 and continued creating such works, among others, until 1992 (the year before she left Galisteo for Taos), making Untitled #5 one of her last paintings of this kind. She once said to her close friend and gallerist, Arne Glimcher, that she felt that her grey paintings were ‘absolutely unattractive but effective’ (quoted in Glimcher 2012, p.117).\nThis work is also one of the last six-foot-square format paintings Martin made before she moved to a five-foot-square format in 1993, the larger size becoming increasingly difficult to manoeuvre for an artist in her eighties. The six-foot-square format appealed to Martin for its enveloping relationship with the body. She said: ‘I just think it’s a good size because it’s as big as everybody, you know, you can just feel like stepping into it. It has to do with being the full size of the human body’ (quoted in Campbell 1989, p.17). The use of the large canvas size was something Martin shared with abstract expressionist painters such as Barnett Newman and Jackson Pollock, who also valued its immersive quality. Despite her self-proclaimed ties with abstract expressionism, Martin’s work evidently lacks the broad expressive brushstrokes of painters such as Pollock. Her work has been likened to minimalism, a movement with which the artist exhibited in the 1960s. However, unlike minimalist artists (such as Donald Judd or Dan Flavin) who used industrial techniques and commercially available materials, Martin maintained a rigorously handmade quality in her work. Rather than belonging exclusively to a single movement, then, Martin associated with multiple movements, arriving at a unique style that endured into her late career, as seen in Untitled #5.\n\nMartin described the way in which she had ‘inspirations’ which elicited the creation of each new work of art. Seeing the finished painting in her mind’s eye, Martin would then translate this vision into reality, methodically measuring out the divisions of the canvas as she had seen them (Nancy Princenthal, Agnes Martin: Her Life and Art, London 2015, p.93). However, as she said, ‘we can see perfectly, but we cannot do perfectly’, so that while the ‘inspiration’ was perfect, the final painting always contained the slight imperfections – wavering pencil lines, paint bleed – brought about by the human hand (Dieter Schwarz (ed.), Agnes Martin: Writings/Schriften, Winterthur 1991, p.32). Martin aimed at perfection in the full knowledge that she could not achieve it. As she explained: ‘I hope I have made it clear that the work is about perfection as we are aware of it in our minds but that the paintings are very far from being perfect – completely removed in fact – even as we ourselves are’ (quoted in Schwarz 1991, p.15).\n\nFurther reading\n Suzan Campbell, ‘Oral history interview with Agnes Martin’, Archives of American Art, Smithsonian Institution, 15 May 1989, pp.1–36, <a href=\"https://www.aaa.si.edu/collections%20/interviews/oral-history-interview-agnes-martin-13296\">https://www.aaa.si.edu/collections%20/interviews/oral-history-interview-agnes-martin-13296</a>, accessed 2 December 2015. Arne Glimcher, Agnes Martin: Paintings, Writings, Remembrances, London and New York 2012. Frances Morris (ed.), Agnes Martin, exhibition catalogue, Tate Modern, London 2015, reproduced p.163.\nRuth Burgon University of Edinburgh December 2015\n\nThe University of Edinburgh is a research partner of ARTIST ROOMS.\n</div>\n", "display_name": "Summary", "publication_date": "2017-01-27T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nBefore 1993, Martin used a six-foot (2 metre) square canvas for her paintings. This size appealed to her for its enveloping relationship with the viewer’s body. She saw it as ‘a size you can walk into’. Martin found the large canvas increasingly difficult to handle as she grew older. She made the decision to reduce the size to a five-foot (1.5 metre) square. This canvas still takes up most of the viewer’s visual field, allowing them to absorb the subtle variations in line, tone and texture without distraction.\n</div>\n", "display_name": "Display caption", "publication_date": "2021-06-14T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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null

false

226 185 6742

true

artwork

Oil paint on canvas

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118,215

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1,983

<a href="https://www.tate.org.uk/art/artists/lucian-freud-1120" aria-label="More by Lucian Freud" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Lucian Freud</a>

Girl in a Striped Nightshirt

2,013

[]

Presented by Mercedes and Ian Stoutzker 2013 and forming part of the Mercedes and Ian Stoutzker Gift to Tate

T13719

{ "id": 6, "meta": { "type": "art.Classification" } }

1666

7003712 7003670 7000084 7011781 7008136 7002445 7008591

Lucian Freud

1,983

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The sitter for this work is the artist Celia Paul (born 1959), who was a student at the Slade School of Art, London in the late 1970s when Freud returned there as a visiting tutor. Paul became Freud’s lover and in 1984 had a son by him. The intimacy that this work conveys, enhanced by its focus on the head and shoulders of the figure and her attire, is not simply due to the personal relationship between artist and subject. It is also a result of the intense scrutiny under which Freud placed his subjects while painting.Gallery label, October 2013

false

1

https://media.tate.org.u…13/T13719_10.jpg

1120

painting oil paint canvas

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Girl in a Striped Nightshirt

1,983

Tate

1983–5

CLEARED

6

frame: 430 × 380 × 60 mm support: 305 × 256 × 20 mm

accessioned work

Tate

Presented by Mercedes and Ian Stoutzker 2013 and forming part of the Mercedes and Ian Stoutzker Gift to Tate

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null

false

92 93 88 11258 1079 615 20117 2594 723 20114 11884 167

false

artwork

Cardboard and paint

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118,217

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1,963

<a href="https://www.tate.org.uk/art/artists/mathias-goeritz-15613" aria-label="More by Mathias Goeritz" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Mathias Goeritz</a>

Five Conical Towers

2,013

Cinco torres cónicas

[]

Purchased with assistance from the Pinta Museum Acquisition Program 2013

T13721

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

7007660 7006357 7006366 7007227 7005575 7005560

Mathias Goeritz

1,963

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false

1

https://media.tate.org.u…13/T13721_10.jpg

15613

sculpture cardboard paint

[]

Five Conical Towers

1,963

Tate

1963–70

CLEARED

8

Overall display dimensions variable

accessioned work

Tate

Purchased with assistance from the Pinta Museum Acquisition Program 2013

[]

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

null

false

225 226 185

false

artwork

Plywood and paint

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118,218

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1,971

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Projects La Defense Doors to Nothingness

2,013

[]

Purchased with assistance from the Pinta Museum Acquisition Program 2013

T13722

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

7007660 7006357 7006366 7007227 7005575 7005560

Mathias Goeritz

1,971

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false

1

https://media.tate.org.u…13/T13722_10.jpg

15613

sculpture plywood paint

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Projects for La Defense (Doors to Nothingness)

1,971

Tate

1971

CLEARED

8

Overall display dimensions variable

accessioned work

Tate

Purchased with assistance from the Pinta Museum Acquisition Program 2013

[]

[ "abstraction", "architecture", "colour", "door", "education, science and learning", "features", "fortification", "geometric", "military", "non-representational", "philosophy", "society" ]

null

false

225 971 149 17 8952 226 20 185 5349

false

artwork

40 stones, 2 wooden bars and cord

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118,221

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1,958

<a href="https://www.tate.org.uk/art/artists/seung-taek-lee-16778" aria-label="More by Seung-Taek Lee" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Seung-Taek Lee</a>

Godret Stone

2,013

[]

Purchased with funds provided by the Asia-Pacific Acquisitions Committee 2013

T13724

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

1082041 1001284 1000122 1000004

Seung-Taek Lee

1,958

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false

1

https://media.tate.org.u…13/T13724_10.jpg

16778

sculpture 40 stones 2 wooden bars cord

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Godret Stone

1,958

Tate

1958

CLEARED

8

displayed: 740 × 1730 × 100 mm

accessioned work

Tate

Purchased with funds provided by the Asia-Pacific Acquisitions Committee 2013

[]

[ "clothing and personal items", "craftsman", "cultural identity", "emotions, concepts and ideas", "formal qualities", "industrial and crafts", "lifestyle and culture", "natural phenomena", "objects", "society", "stick", "stone", "suspension", "work and occupations" ]

null

false

88 7125 12833 124 70 1244 13390 18164

false

artwork

Acrylic paint on canvas

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118,226

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1,973

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Weddell

2,013

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Presented by the artist 2013

T13725

{ "id": 6, "meta": { "type": "art.Classification" } }

7008116 7011781 7008136 7002445 7008591 7012077

Gillian Ayres CBE RA

1,973

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As with most of Ayres’s work, the title Weddell was added once the painting was finished. It may derive from the sea of the same name, as the painting invokes an impression of the power and vastness of nature. Weddell is built up with heavily textured layers of paint, although the final layer appears thinly applied. Here Ayres presents paint as both a material act and a substance.Gallery label, October 2019

false

1

https://media.tate.org.u…13/T13725_10.jpg

680

painting acrylic paint canvas

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Weddell

1,973

Tate

c.1973–4

CLEARED

6

support: 1680 × 1250 mm

accessioned work

Tate

Presented by the artist 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nAs with most of Ayres’s work, the title Weddell was added once the painting was finished. It may derive from the sea of the same name, as the painting invokes an impression of the power and vastness of nature. Weddell is built up with heavily textured layers of paint, although the final layer appears thinly applied. Here Ayres presents paint as both a material act and a substance.\n</div>\n", "display_name": "Display caption", "publication_date": "2019-10-04T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "abstraction", "colour", "dynamism", "emotions, concepts and ideas", "formal qualities", "from recognisable sources", "gestural", "natural features (non-UK)", "non-representational", "organic", "places", "sea", "seascapes and coasts", "texture", "Wedell Sea" ]

null

false

225 6739 189 227 111 185 224 557 73 8577

true

artwork

Video, high definition, projection, colour and sound (stereo)

[ { "append_role_to_name": false, "date": "born 1971", "fc": "Wael Shawky", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/wael-shawky-13675" } ]

118,227

[ { "id": 999999875, "shortTitle": "Tate Modern" }, { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999872, "shortTitle": "Works on display" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

2,010

<a href="https://www.tate.org.uk/art/artists/wael-shawky-13675" aria-label="More by Wael Shawky" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Wael Shawky</a>

Cabaret Crusades Horror Show Files

2,013

[ { "map_gallery": "TM", "map_gallery_label": "Tate Modern", "map_level": "TM_02", "map_level_label": "TM Level 2", "map_space": "TMB2W11", "map_space_label": "Tate Modern / B2W11", "map_wing": "TM_W", "map_wing_label": "TM Natalie Bell Building West", "map_zone": "TM_BH", "map_zone_label": "TM Natalie Bell Building", "nid": "451930" } ]

Purchased with funds provided by the Middle East North Africa Acquisitions Committee 2013

T13726

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

7016833 7001242

Wael Shawky

2,010

[]

Throughout his practice Wael Shawky re-visits history across a range of media and storytelling techniques. His 2010 video Cabaret Crusades: The Horror Show File reconstructs events that took place 1095–1099, in the first of a series of religious wars known as the Crusades. These military campaigns were initiated and supported by Roman Catholic Church leaders against the Islamic rulers and inhabitants of Jerusalem.The artist carefully built the stage sets by hand. They include intricately embroidered costumes and miniature palaces, reflecting the period of the events. Shawky used 200-year-old marionettes in place of actors to portray the characters. These are voiced in classical Arabic. The traditional Italian marionettes were borrowed from the Lupi family collection, Turin. Their strings are intentionally visible throughout the video. This highlights the marionettes’ skilled manipulation and connects with questions of power and agency in the work.Gallery label, November 2022

false

1

https://media.tate.org.u…T13/T13726_9.jpg

13675

installation video high definition projection colour sound stereo

[ { "artistRoomsTour": false, "dateText": "2 May 2022 – 14 May 2023", "endDate": "2023-05-14", "exhibitionLegs": [ { "dateText": null, "endDate": null, "id": 15009, "startDate": null, "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 12339, "startDate": "2022-05-02", "title": "Wael Shawky", "type": "Collection based display" } ]

Cabaret Crusades: The Horror Show Files

2,010

Tate

2010

CLEARED

3

unconfirmed

accessioned work

Tate

Purchased with funds provided by the Middle East North Africa Acquisitions Committee 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThroughout his practice Wael Shawky re-visits history across a range of media and storytelling techniques. His 2010 video Cabaret Crusades: The Horror Show File reconstructs events that took place 1095–1099, in the first of a series of religious wars known as the Crusades. These military campaigns were initiated and supported by Roman Catholic Church leaders against the Islamic rulers and inhabitants of Jerusalem. The artist carefully built the stage sets by hand. They include intricately embroidered costumes and miniature palaces, reflecting the period of the events. Shawky used 200-year-old marionettes in place of actors to portray the characters. These are voiced in classical Arabic. The traditional Italian marionettes were borrowed from the Lupi family collection, Turin. Their strings are intentionally visible throughout the video. This highlights the marionettes’ skilled manipulation and connects with questions of power and agency in the work.\n</div>\n", "display_name": "Display caption", "publication_date": "2022-11-02T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[]

null

false

true

artwork

Perspex

[ { "append_role_to_name": false, "date": "born 1976", "fc": "Ryan Gander OBE", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/ryan-gander-obe-9102" } ]

118,232

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999780, "shortTitle": "Tate Patrons" }, { "id": 999999956, "shortTitle": "Collection" } ]

2,012

<a href="https://www.tate.org.uk/art/artists/ryan-gander-obe-9102" aria-label="More by Ryan Gander OBE" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Ryan Gander OBE</a>

Associative Ghost Template 2

2,013

[]

Presented by Tate Patrons 2013

T13731

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

7012045 7008114 7002445 7008591

Ryan Gander OBE

2,012

[ { "archiveItemCount": 1, "id": 184, "level": 1, "name": "abstraction", "parent_id": 1, "workCount": 8614 }, { "archiveItemCount": 1, "id": 9329, "level": 3, "name": "diagrammatic", "parent_id": 6729, "workCount": 798 }, { "archiveItemCount": 3337, "id": 31, "level": 2, "name": "emotions and human qualities", "parent_id": 29, "workCount": 2008 }, { "archiveItemCount": 5302, "id": 29, "level": 1, "name": "emotions, concepts and ideas", "parent_id": 1, "workCount": 11114 }, { "archiveItemCount": 3599, "id": 6729, "level": 2, "name": "formal qualities", "parent_id": 29, "workCount": 8855 }, { "archiveItemCount": 214, "id": 226, "level": 3, "name": "geometric", "parent_id": 185, "workCount": 2858 }, { "archiveItemCount": 206, "id": 6852, "level": 3, "name": "memory", "parent_id": 31, "workCount": 161 }, { "archiveItemCount": 1, "id": 185, "level": 2, "name": "non-representational", "parent_id": 184, "workCount": 6160 }, { "archiveItemCount": 3955, "id": 30, "level": 2, "name": "universal concepts", "parent_id": 29, "workCount": 2432 }, { "archiveItemCount": 5, "id": 4357, "level": 3, "name": "void", "parent_id": 30, "workCount": 29 } ]

Associative Ghost Template #2 is a wall-hung work that comprises two layers of Perspex, each punctured by apertures of various shapes and sizes. Each layer of Perspex relates to a collage made by the artist, and the laser-cut openings show the size and location of the objects originally used in the collage. It is one of a series of works that allude to invisibility and loose associative methodology, both recurring issues in Ryan Gander’s work. Gander encourages the imaginative possibilities created as the human brain struggles to find a connection between incongruent objects.Gallery label, October 2013

false

1

https://media.tate.org.u…13/T13731_10.jpg

9102

sculpture perspex

[ { "artistRoomsTour": false, "dateText": "1 March 2013 – 2 February 2014", "endDate": "2014-02-02", "exhibitionLegs": [ { "dateText": "1 March 2013 – 2 February 2014", "endDate": "2014-02-02", "id": 7567, "startDate": "2013-03-01", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 6192, "startDate": "2013-03-01", "title": "Gallery 55 - 56", "type": "Collection based display" } ]

Associative Ghost Template #2

2,012

Tate

2012

CLEARED

8

Overall display dimensions variable

accessioned work

Tate

Presented by <a href="/search?gid=999999780" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Tate Patrons</a> 2013

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[ "abstraction", "diagrammatic", "emotions and human qualities", "emotions, concepts and ideas", "formal qualities", "geometric", "memory", "non-representational", "universal concepts", "void" ]

null

false

9329 31 226 6852 185 30 4357

false

artwork

Acrylic paint on canvas

[ { "append_role_to_name": false, "date": "1967–2002", "fc": "Michel Majerus", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/michel-majerus-6307" } ]

118,235

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,997

<a href="https://www.tate.org.uk/art/artists/michel-majerus-6307" aria-label="More by Michel Majerus" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Michel Majerus</a>

MoM Block Nr 11

2,013

[]

Presented by Charles Asprey 2013

T13732

{ "id": 6, "meta": { "type": "art.Classification" } }

7003712 7006255 7003534 7003514

Michel Majerus

1,997

[ { "archiveItemCount": 1, "id": 184, "level": 1, "name": "abstraction", "parent_id": 1, "workCount": 8614 }, { "archiveItemCount": 306, "id": 225, "level": 3, "name": "colour", "parent_id": 185, "workCount": 2175 }, { "archiveItemCount": 214, "id": 226, "level": 3, "name": "geometric", "parent_id": 185, "workCount": 2858 }, { "archiveItemCount": 1, "id": 185, "level": 2, "name": "non-representational", "parent_id": 184, "workCount": 6160 } ]

false

1

https://media.tate.org.u…13/T13732_10.jpg

6307

painting acrylic paint canvas

[]

MoM Block Nr. 11

1,997

Tate

1997

CLEARED

6

unconfirmed: 2000 × 1800 mm

accessioned work

Tate

Presented by Charles Asprey 2013

[]

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

null

false

225 226 185

false

artwork

Acrylic paint on canvas

[ { "append_role_to_name": false, "date": "1967–2002", "fc": "Michel Majerus", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/michel-majerus-6307" } ]

118,237

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,997

<a href="https://www.tate.org.uk/art/artists/michel-majerus-6307" aria-label="More by Michel Majerus" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Michel Majerus</a>

MoM Block Nr 12

2,013

[]

Presented by Charles Asprey 2012

T13733

{ "id": 6, "meta": { "type": "art.Classification" } }

7003712 7006255 7003534 7003514

Michel Majerus

1,997

[ { "archiveItemCount": 1, "id": 184, "level": 1, "name": "abstraction", "parent_id": 1, "workCount": 8614 }, { "archiveItemCount": 306, "id": 225, "level": 3, "name": "colour", "parent_id": 185, "workCount": 2175 }, { "archiveItemCount": 7, "id": 227, "level": 3, "name": "gestural", "parent_id": 185, "workCount": 884 }, { "archiveItemCount": 1, "id": 185, "level": 2, "name": "non-representational", "parent_id": 184, "workCount": 6160 } ]

false

1

https://media.tate.org.u…13/T13733_10.jpg

6307

painting acrylic paint canvas

[]

MoM Block Nr. 12

1,997

Tate

1997

CLEARED

6

unconfirmed: 2000 × 1800 mm

accessioned work

Tate

Presented by Charles Asprey 2012

[]

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

null

false

225 227 185

false

artwork

Acrylic paint on canvas

[ { "append_role_to_name": false, "date": "1967–2002", "fc": "Michel Majerus", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/michel-majerus-6307" } ]

118,238

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,997

<a href="https://www.tate.org.uk/art/artists/michel-majerus-6307" aria-label="More by Michel Majerus" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Michel Majerus</a>

MoM Block Nr 14

2,013

[]

Presented by Charles Asprey 2012

T13734

{ "id": 6, "meta": { "type": "art.Classification" } }

7003712 7006255 7003534 7003514

Michel Majerus

1,997

[ { "archiveItemCount": 1, "id": 184, "level": 1, "name": "abstraction", "parent_id": 1, "workCount": 8614 }, { "archiveItemCount": 306, "id": 225, "level": 3, "name": "colour", "parent_id": 185, "workCount": 2175 }, { "archiveItemCount": 7, "id": 227, "level": 3, "name": "gestural", "parent_id": 185, "workCount": 884 }, { "archiveItemCount": 1, "id": 185, "level": 2, "name": "non-representational", "parent_id": 184, "workCount": 6160 } ]

false

1

https://media.tate.org.u…13/T13734_10.jpg

6307

painting acrylic paint canvas

[]

MoM Block Nr. 14

1,997

Tate

1997

CLEARED

6

unconfirmed: 2000 × 1800 mm

accessioned work

Tate

Presented by Charles Asprey 2012

[]

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

null

false

225 227 185

false

artwork

Mirror glass, stainless steel, plaster and wood

[ { "append_role_to_name": false, "date": "1924 – 2019", "fc": "Monir Shahroudy Farmanfarmaian", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/monir-shahroudy-farmanfarmaian-16467" } ]

118,239

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,976

<a href="https://www.tate.org.uk/art/artists/monir-shahroudy-farmanfarmaian-16467" aria-label="More by Monir Shahroudy Farmanfarmaian" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Monir Shahroudy Farmanfarmaian</a>

2,013

[]

Purchased with funds provided by the Middle East North Africa Acquisitions Committee 2013

T13735

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

1079247 1001613 7000231 1000004

Monir Shahroudy Farmanfarmaian

1,976

[ { "archiveItemCount": 1, "id": 184, "level": 1, "name": "abstraction", "parent_id": 1, "workCount": 8614 }, { "archiveItemCount": 300, "id": 62, "level": 3, "name": "animals: birds", "parent_id": 60, "workCount": 991 }, { "archiveItemCount": 1, "id": 13, "level": 1, "name": "architecture", "parent_id": 1, "workCount": 30959 }, { "archiveItemCount": 141, "id": 538, "level": 3, "name": "bird - non-specific", "parent_id": 62, "workCount": 333 }, { "archiveItemCount": 55, "id": 1832, "level": 3, "name": "branch", "parent_id": 1809, "workCount": 136 }, { "archiveItemCount": 740, "id": 805, "level": 3, "name": "building - non-specific", "parent_id": 28, "workCount": 2421 }, { "archiveItemCount": 20, "id": 10623, "level": 3, "name": "ceramics", "parent_id": 80, "workCount": 16 }, { "archiveItemCount": 5302, "id": 29, "level": 1, "name": "emotions, concepts and ideas", "parent_id": 1, "workCount": 11114 }, { "archiveItemCount": 2124, "id": 80, "level": 2, "name": "fine arts and music", "parent_id": 78, "workCount": 1858 }, { "archiveItemCount": 3599, "id": 6729, "level": 2, "name": "formal qualities", "parent_id": 29, "workCount": 8855 }, { "archiveItemCount": 882, "id": 82, "level": 2, "name": "furnishings", "parent_id": 78, "workCount": 2199 }, { "archiveItemCount": 214, "id": 226, "level": 3, "name": "geometric", "parent_id": 185, "workCount": 2858 }, { "archiveItemCount": 1, "id": 20959, "level": 3, "name": "Islam, Sufism", "parent_id": 137, "workCount": 7 }, { "archiveItemCount": 71, "id": 1078, "level": 3, "name": "mirror", "parent_id": 82, "workCount": 170 }, { "archiveItemCount": 1, "id": 185, "level": 2, "name": "non-representational", "parent_id": 184, "workCount": 6160 }, { "archiveItemCount": 9924, "id": 78, "level": 1, "name": "objects", "parent_id": 1, "workCount": 13647 }, { "archiveItemCount": 0, "id": 40568, "level": 3, "name": "pattern", "parent_id": 6729, "workCount": 358 }, { "archiveItemCount": 0, "id": 132, "level": 1, "name": "religion and belief", "parent_id": 1, "workCount": 2443 }, { "archiveItemCount": 1, "id": 137, "level": 2, "name": "religions", "parent_id": 132, "workCount": 180 }, { "archiveItemCount": 2439, "id": 28, "level": 2, "name": "townscapes / man-made features", "parent_id": 13, "workCount": 19164 } ]

This work presents a series of volumetric renderings of cubes, placed serially against each other to form an intricate geometric pattern that also reveals interlocking rhomboid and diamond shapes. The reflections formed within its fragmented mirrors can change dramatically, depending on the surroundings and lighting. Farmanfarmaian’s work relates to the geometric forms of American minimalist sculpture as well as the patterns found in Iran’s architectural monuments. Her use of geometric shapes is underpinned by her studies of Sufi cosmology, in which each shape has an intrinsic symbolic meaning.Gallery label, April 2013

false

1

https://media.tate.org.u…T13/T13735_9.jpg

16467

sculpture mirror glass stainless steel plaster wood

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Untitled

1,976

Tate

1976

CLEARED

8

object: 1276 × 789 × 40 mm

accessioned work

Tate

Purchased with funds provided by the Middle East North Africa Acquisitions Committee 2013

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[ "abstraction", "animals: birds", "architecture", "bird - non-specific", "branch", "building - non-specific", "ceramics", "emotions, concepts and ideas", "fine arts and music", "formal qualities", "furnishings", "geometric", "Islam, Sufism", "mirror", "non-representational", "objects", "pattern", "religion and belief", "religions", "townscapes / man-made features" ]

null

false

62 538 1832 805 10623 80 82 226 20959 1078 185 40568 137

false

artwork

Oil paint and enamel paint on hardboard

[ { "append_role_to_name": false, "date": "born 1930", "fc": "Ibrahim El-Salahi", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/ibrahim-el-salahi-16988" } ]

118,241

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,967

<a href="https://www.tate.org.uk/art/artists/ibrahim-el-salahi-16988" aria-label="More by Ibrahim El-Salahi" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Ibrahim El-Salahi</a>

2,013

[]

Presented by the artist 2013

T13736

{ "id": 6, "meta": { "type": "art.Classification" } }

32896

1000201 7001242

Ibrahim El-Salahi

1,967

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false

1

https://media.tate.org.u…13/T13736_10.jpg

16988

painting oil paint enamel hardboard

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Untitled

1,967

Tate

1967

CLEARED

6

support: 448 × 762 mm frame: 491 × 807 × 58 mm

accessioned work

Tate

Presented by the artist 2013

[]

[ "abstraction", "adults", "Arabic text", "figure", "figure", "from recognisable sources", "inscriptions", "people", "symbols and personifications" ]

null

false

12832 451 221 189 166

false

artwork

Rubber inner tubes, steel, hosepipes and ribbon

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118,242

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2,012

<a href="https://www.tate.org.uk/art/artists/nicholas-hlobo-12497" aria-label="More by Nicholas Hlobo" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Nicholas Hlobo</a>

Balindile I

2,013

[]

Purchased with funds provided by the 2012 Outset / Frieze Art Fair Fund to benefit the Tate Collection 2013

T13737

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

7000811 7017584 1000193 7001242

Nicholas Hlobo

2,012

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Balindile I is titled in Hlobo’s native language Xhosa, a Nguni language widely spoken in South Africa. Translated as ‘those in waiting’, it refers to the black rubber form that appears to be rising up, in a state of limbo. The rubber is from the inner tube of a car tyre, gathered from repair shops in Johannesburg. The hosepipe appears to be acting as a tether, limiting movement. It could also represent an umbilical cord, signifying growth and possibility.Gallery label, August 2019

false

1

https://media.tate.org.u…13/T13737_10.jpg

12497

sculpture rubber inner tubes steel hosepipes ribbon

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Balindile I

2,012

Tate

2012

CLEARED

8

Overall display dimensions variable

accessioned work

Tate

Purchased with funds provided by the 2012 <a href="/search?gid=999999778" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Outset / Frieze Art Fair Fund to benefit the Tate Collection</a> 2013

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null

false

12833 863 796 9663 185 1171 158 11113

false

artwork

Oil paint, ink and charcoal on paper

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118,256

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2,008

<a href="https://www.tate.org.uk/art/artists/peter-doig-2361" aria-label="More by Peter Doig" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Peter Doig</a>

2,013

[]

Presented by the artist 2013

T13750

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

7009546 7019109 7002444 7008591

Peter Doig

2,008

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false

1

https://media.tate.org.u…13/T13750_10.jpg

2361

paper unique oil paint ink charcoal

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Untitled

2,008

Tate

2008

CLEARED

5

support: 350 × 248 mm

accessioned work

Tate

Presented by the artist 2013

[]

[ "adults", "bat", "clothing and personal items", "leisure and pastimes", "man", "objects", "people", "shorts", "sport", "sports and games", "table tennis", "table tennis table" ]

null

false

5293 88 195 16736 54 285 21103 21104

false

artwork

Oil paint on paper

[ { "append_role_to_name": false, "date": "born 1959", "fc": "Peter Doig", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/peter-doig-2361" } ]

118,257

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

2,008

<a href="https://www.tate.org.uk/art/artists/peter-doig-2361" aria-label="More by Peter Doig" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Peter Doig</a>

2,013

[]

Presented by the artist 2013

T13751

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

7009546 7019109 7002444 7008591

Peter Doig

2,008

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false

1

https://media.tate.org.u…13/T13751_10.jpg

2361

paper unique oil paint

[ { "artistRoomsTour": false, "dateText": "3 August 2013 – 8 June 2014", "endDate": "2014-06-08", "exhibitionLegs": [ { "dateText": "3 August 2013 – 3 November 2013", "endDate": "2013-11-03", "id": 8012, "startDate": "2013-08-03", "venueName": "Scottish National Gallery of Modern Art (Edinburgh, UK)", "venueWebsiteUrl": "http://www.nationalgalleries.org/" }, { "dateText": "20 January 2014 – 8 June 2014", "endDate": "2014-06-08", "id": 8013, "startDate": "2014-01-20", "venueName": "Montréal Museum of Fine Arts (Montréal, Canada)", "venueWebsiteUrl": "http://www.mmfa.qc.ca" } ], "id": 6570, "startDate": "2013-08-03", "title": "No Foreign Lands", "type": "Loan-out" } ]

Untitled

2,008

Tate

2008

CLEARED

5

support: 353 × 248 mm

accessioned work

Tate

Presented by the artist 2013

[]

[ "adults", "body", "emotions, concepts and ideas", "formal qualities", "gestural", "head / face", "man", "people" ]

null

false

93 19508 615 195

false

artwork

Oil paint on paper

[ { "append_role_to_name": false, "date": "born 1959", "fc": "Peter Doig", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/peter-doig-2361" } ]

118,258

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

2,008

<a href="https://www.tate.org.uk/art/artists/peter-doig-2361" aria-label="More by Peter Doig" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Peter Doig</a>

2,013

[]

Presented by the artist 2013

T13752

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

7009546 7019109 7002444 7008591

Peter Doig

2,008

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false

1

https://media.tate.org.u…13/T13752_10.jpg

2361

paper unique oil paint

[ { "artistRoomsTour": false, "dateText": "3 August 2013 – 8 June 2014", "endDate": "2014-06-08", "exhibitionLegs": [ { "dateText": "3 August 2013 – 3 November 2013", "endDate": "2013-11-03", "id": 8012, "startDate": "2013-08-03", "venueName": "Scottish National Gallery of Modern Art (Edinburgh, UK)", "venueWebsiteUrl": "http://www.nationalgalleries.org/" }, { "dateText": "20 January 2014 – 8 June 2014", "endDate": "2014-06-08", "id": 8013, "startDate": "2014-01-20", "venueName": "Montréal Museum of Fine Arts (Montréal, Canada)", "venueWebsiteUrl": "http://www.mmfa.qc.ca" } ], "id": 6570, "startDate": "2013-08-03", "title": "No Foreign Lands", "type": "Loan-out" } ]

Untitled

2,008

Tate

2008

CLEARED

5

support: 353 × 247 mm

accessioned work

Tate

Presented by the artist 2013

[]

[ "adults", "body", "emotions, concepts and ideas", "formal qualities", "gestural", "head / face", "man", "people" ]

null

false

93 19508 615 195

false

artwork

Oil paint on paper

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118,259

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

2,008

<a href="https://www.tate.org.uk/art/artists/peter-doig-2361" aria-label="More by Peter Doig" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Peter Doig</a>

2,013

[]

Presented by the artist 2013

T13753

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

7009546 7019109 7002444 7008591

Peter Doig

2,008

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false

1

https://media.tate.org.u…13/T13753_10.jpg

2361

paper unique oil paint

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Untitled

2,008

Tate

2008

CLEARED

5

support: 353 × 247 mm

accessioned work

Tate

Presented by the artist 2013

[]

[ "adults", "body", "emotions, concepts and ideas", "formal qualities", "gestural", "head / face", "man", "moustache", "people", "silhouette" ]

null

false

93 19508 615 195 2465 11845

false

artwork

Oil paint on paper

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118,260

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

2,008

<a href="https://www.tate.org.uk/art/artists/peter-doig-2361" aria-label="More by Peter Doig" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Peter Doig</a>

2,013

[]

Presented by the artist 2013

T13754

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

7009546 7019109 7002444 7008591

Peter Doig

2,008

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false

1

https://media.tate.org.u…13/T13754_10.jpg

2361

paper unique oil paint

[ { "artistRoomsTour": false, "dateText": "3 August 2013 – 8 June 2014", "endDate": "2014-06-08", "exhibitionLegs": [ { "dateText": "3 August 2013 – 3 November 2013", "endDate": "2013-11-03", "id": 8012, "startDate": "2013-08-03", "venueName": "Scottish National Gallery of Modern Art (Edinburgh, UK)", "venueWebsiteUrl": "http://www.nationalgalleries.org/" }, { "dateText": "20 January 2014 – 8 June 2014", "endDate": "2014-06-08", "id": 8013, "startDate": "2014-01-20", "venueName": "Montréal Museum of Fine Arts (Montréal, Canada)", "venueWebsiteUrl": "http://www.mmfa.qc.ca" } ], "id": 6570, "startDate": "2013-08-03", "title": "No Foreign Lands", "type": "Loan-out" } ]

Untitled

2,008

Tate

2008

CLEARED

5

support: 252 × 328 mm

accessioned work

Tate

Presented by the artist 2013

[]

[ "adults", "architecture", "bat", "emotions, concepts and ideas", "features", "formal qualities", "gestural", "leisure and pastimes", "man", "objects", "people", "sport", "sports and games", "table tennis", "table tennis table", "wall" ]

null

false

5293 17 19508 195 54 285 21103 21104 700

false

artwork

Oil paint on paper

[ { "append_role_to_name": false, "date": "born 1959", "fc": "Peter Doig", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/peter-doig-2361" } ]

118,262

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2,008

<a href="https://www.tate.org.uk/art/artists/peter-doig-2361" aria-label="More by Peter Doig" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Peter Doig</a>

2,013

[]

Presented by the artist 2013

T13755

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

7009546 7019109 7002444 7008591

Peter Doig

2,008

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false

1

https://media.tate.org.u…13/T13755_10.jpg

2361

paper unique oil paint

[ { "artistRoomsTour": false, "dateText": "3 August 2013 – 8 June 2014", "endDate": "2014-06-08", "exhibitionLegs": [ { "dateText": "3 August 2013 – 3 November 2013", "endDate": "2013-11-03", "id": 8012, "startDate": "2013-08-03", "venueName": "Scottish National Gallery of Modern Art (Edinburgh, UK)", "venueWebsiteUrl": "http://www.nationalgalleries.org/" }, { "dateText": "20 January 2014 – 8 June 2014", "endDate": "2014-06-08", "id": 8013, "startDate": "2014-01-20", "venueName": "Montréal Museum of Fine Arts (Montréal, Canada)", "venueWebsiteUrl": "http://www.mmfa.qc.ca" } ], "id": 6570, "startDate": "2013-08-03", "title": "No Foreign Lands", "type": "Loan-out" } ]

Untitled

2,008

Tate

2008

CLEARED

5

support: 247 × 350 mm

accessioned work

Tate

Presented by the artist 2013

[]

[ "adults", "architecture", "bat", "features", "foliage", "leisure and pastimes", "man", "objects", "people", "plants and flowers", "sport", "sports and games", "table tennis", "table tennis table", "wall", "woman" ]

null

false

5293 17 936 195 72 54 285 21103 21104 700 167

false

artwork

Oil paint on paper

[ { "append_role_to_name": false, "date": "born 1959", "fc": "Peter Doig", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/peter-doig-2361" } ]

118,263

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

2,008

<a href="https://www.tate.org.uk/art/artists/peter-doig-2361" aria-label="More by Peter Doig" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Peter Doig</a>

2,013

[]

Presented by the artist 2013

T13756

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

7009546 7019109 7002444 7008591

Peter Doig

2,008

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false

1

https://media.tate.org.u…13/T13756_10.jpg

2361

paper unique oil paint

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Untitled

2,008

Tate

2008

CLEARED

5

support: 248 × 351 mm

accessioned work

Tate

Presented by the artist 2013

[]

[ "adults", "architecture", "bat", "clothing and personal items", "emotions, concepts and ideas", "features", "formal qualities", "gestural", "landscape", "leisure and pastimes", "man", "objects", "people", "shorts", "sport", "sports and games", "table tennis", "table tennis table", "wall", "wooded" ]

null

false

5293 88 17 19508 195 16736 54 285 21103 21104 700 496

false

artwork

Oil paint on paper

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118,264

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

2,008

<a href="https://www.tate.org.uk/art/artists/peter-doig-2361" aria-label="More by Peter Doig" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Peter Doig</a>

2,013

[]

Presented by the artist 2013

T13757

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

7009546 7019109 7002444 7008591

Peter Doig

2,008

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false

1

https://media.tate.org.u…13/T13757_10.jpg

2361

paper unique oil paint

[ { "artistRoomsTour": false, "dateText": "3 August 2013 – 8 June 2014", "endDate": "2014-06-08", "exhibitionLegs": [ { "dateText": "3 August 2013 – 3 November 2013", "endDate": "2013-11-03", "id": 8012, "startDate": "2013-08-03", "venueName": "Scottish National Gallery of Modern Art (Edinburgh, UK)", "venueWebsiteUrl": "http://www.nationalgalleries.org/" }, { "dateText": "20 January 2014 – 8 June 2014", "endDate": "2014-06-08", "id": 8013, "startDate": "2014-01-20", "venueName": "Montréal Museum of Fine Arts (Montréal, Canada)", "venueWebsiteUrl": "http://www.mmfa.qc.ca" } ], "id": 6570, "startDate": "2013-08-03", "title": "No Foreign Lands", "type": "Loan-out" } ]

Untitled

2,008

Tate

2008

CLEARED

5

support: 246 × 350 mm

accessioned work

Tate

Presented by the artist 2013

[]

[ "adults", "branch", "leaf", "leisure and pastimes", "man", "people", "plants and flowers", "sport", "table tennis" ]

null

false

1832 448 195 72 54 21103

false

artwork

Oil paint on paper

[ { "append_role_to_name": false, "date": "born 1959", "fc": "Peter Doig", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/peter-doig-2361" } ]

118,265

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

2,008

<a href="https://www.tate.org.uk/art/artists/peter-doig-2361" aria-label="More by Peter Doig" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Peter Doig</a>

2,013

[]

Presented by the artist 2013

T13758

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

7009546 7019109 7002444 7008591

Peter Doig

2,008

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false

1

https://media.tate.org.u…13/T13758_10.jpg

2361

paper unique oil paint

[ { "artistRoomsTour": false, "dateText": "3 August 2013 – 8 June 2014", "endDate": "2014-06-08", "exhibitionLegs": [ { "dateText": "3 August 2013 – 3 November 2013", "endDate": "2013-11-03", "id": 8012, "startDate": "2013-08-03", "venueName": "Scottish National Gallery of Modern Art (Edinburgh, UK)", "venueWebsiteUrl": "http://www.nationalgalleries.org/" }, { "dateText": "20 January 2014 – 8 June 2014", "endDate": "2014-06-08", "id": 8013, "startDate": "2014-01-20", "venueName": "Montréal Museum of Fine Arts (Montréal, Canada)", "venueWebsiteUrl": "http://www.mmfa.qc.ca" } ], "id": 6570, "startDate": "2013-08-03", "title": "No Foreign Lands", "type": "Loan-out" } ]

Untitled

2,008

Tate

2008

CLEARED

5

support: 505 × 685 mm

accessioned work

Tate

Presented by the artist 2013

[]

[ "adults", "bat", "leisure and pastimes", "man", "objects", "people", "sport", "sports and games", "table tennis" ]

null

false

5293 195 54 285 21103

false

artwork

Steel

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118,271

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999976, "shortTitle": "Tate American Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,952

<a href="https://www.tate.org.uk/art/artists/david-smith-1953" aria-label="More by David Smith" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">David Smith</a>

Agricola IX

2,013

[]

Presented by the American Fund for the Tate Gallery, courtesy of Candida and Rebecca Smith, the artist's daughters, 2012

T13759

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

2031577 1002135 7007252 7012149 1002176 7007828

David Smith

1,952

[]

The use of the Latin word for 'farmer' in the title of this work refers to the agricultural implements from which it is made. Smith found many of the tools and disused machinery parts for his Agricola series lying around near his home in upstate New York. All the sculptures in the series were made by welding, a technique that Smith had learned as a car-factory worker. Welding was also used by Pablo Picasso and Julio González, whose sculptures were an important influence.Gallery label, July 2007

false

1

https://media.tate.org.u…13/T13759_10.jpg

1953

sculpture steel

[ { "artistRoomsTour": false, "dateText": "12 December 2005 – 30 October 2011", "endDate": "2011-10-30", "exhibitionLegs": [ { "dateText": "12 December 2005 – 30 October 2011", "endDate": "2011-10-30", "id": 2936, "startDate": "2005-12-12", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 2583, "startDate": "2005-12-12", "title": "Material Gestures", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "26 January 2006 – 11 September 2006", "endDate": "2006-09-11", "exhibitionLegs": [ { "dateText": "26 January 2006 – 14 May 2006", "endDate": "2006-05-14", "id": 2524, "startDate": "2006-01-26", "venueName": "Solomon R. Guggenheim Museum (New York, USA)", "venueWebsiteUrl": null }, { "dateText": "10 June 2006 – 11 September 2006", "endDate": "2006-09-11", "id": 2525, "startDate": "2006-06-10", "venueName": "Musée National d’Art Moderne - Centre Pompidou (Paris, France)", "venueWebsiteUrl": "http://www.centrepompidou.fr" } ], "id": 2274, "startDate": "2006-01-26", "title": "David Smith: A Centennial", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "1 November 2006 – 21 January 2007", "endDate": "2007-01-21", "exhibitionLegs": [ { "dateText": "3 February 2006 – 14 May 2006", "endDate": "2006-05-14", "id": 2074, "startDate": "2006-02-03", "venueName": "Solomon R. Guggenheim Museum (New York, USA)", "venueWebsiteUrl": null }, { "dateText": "14 June 2006 – 21 August 2006", "endDate": "2006-08-21", "id": 2075, "startDate": "2006-06-14", "venueName": "Musée National d’Art Moderne - Centre Pompidou (Paris, France)", "venueWebsiteUrl": "http://www.centrepompidou.fr" }, { "dateText": "1 November 2006 – 21 January 2007", "endDate": "2007-01-21", "id": 2081, "startDate": "2006-11-01", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 1901, "startDate": "2006-11-01", "title": "David Smith Sculptures 1933-1965", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "22 June 2019 – 5 January 2020", "endDate": "2020-01-05", "exhibitionLegs": [ { "dateText": "22 June 2019 – 5 January 2020", "endDate": "2020-01-05", "id": 12670, "startDate": "2019-06-22", "venueName": "Yorkshire Sculpture Park (Wakefield, UK)", "venueWebsiteUrl": null } ], "id": 10450, "startDate": "2019-06-22", "title": "David Smith", "type": "Loan-out" } ]

Agricola IX

1,952

Tate

1952

CLEARED

8

Entire object: 920 × 1420 × 500mm (h, w, d). Base: 400 × 150mm.

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of Candida and Rebecca Smith, the artist's daughters, 2012

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[]

null

false

artwork

2 light bulbs, 2 porcelain light sockets and 2 electric cables

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118,290

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March 5th 2

2,013

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Presented by the American Fund for the Tate Gallery, courtesy of the American and Latin American Acquisitions Committee 2012

T13764

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“Untitled” (March 5th) #2

1,991

Tate

1991

CLEARED

3

Overall display dimensions variable

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the American and Latin American Acquisitions Committee 2012

[]

null

false

true

artwork

Wood, steel, sheep excrement and hemp cord

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118,291

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2,008

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AC1

2,013

[]

Presented by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

T13765

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

7007227 7005575 7005560

Abraham Cruzvillegas

2,008

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false

1

https://media.tate.org.u…13/T13765_10.jpg

13142

sculpture wood steel sheep excrement hemp cord

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AC1

2,008

Tate

2008

CLEARED

8

displayed: 1750 × 1300 × 1050 mm

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

[]

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null

false

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false

artwork

Wood, artist's hair, rubber, metal and hemp cord

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118,294

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2,008

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AC2

2,013

[]

Presented by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

T13766

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

7007227 7005575 7005560

Abraham Cruzvillegas

2,008

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false

1

https://media.tate.org.u…13/T13766_10.jpg

13142

sculpture wood artists hair rubber metal hemp cord

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AC2

2,008

Tate

2008

CLEARED

8

object: 1027 × 1192 × 90 mm

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

[]

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null

false

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false

artwork

Wood and steel

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118,295

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2,008

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AC3

2,013

[]

Presented by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

T13767

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

7007227 7005575 7005560

Abraham Cruzvillegas

2,008

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false

1

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sculpture wood steel

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AC3

2,008

Tate

2008

CLEARED

8

displayed: 70 × 945 × 1540 mm

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

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null

false

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false

artwork

Wood, metal, paint and hemp cord

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118,296

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2,008

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AC4

2,013

[]

Presented by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

T13768

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7007227 7005575 7005560

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false

1

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AC4

2,008

Tate

2008

CLEARED

8

object: 910 × 380 × 555 mm

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

[]

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null

false

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false

artwork

Wood, wool, metal and hemp cord

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118,298

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2,008

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AC5

2,013

[]

Presented by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

T13769

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

7007227 7005575 7005560

Abraham Cruzvillegas

2,008

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false

1

https://media.tate.org.u…13/T13769_10.jpg

13142

sculpture wood wool metal hemp cord

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AC5

2,008

Tate

2008

CLEARED

8

unconfirmed

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

[]

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null

false

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false

artwork

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118,300

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2,008

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AC6

2,013

[]

Presented by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

T13770

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2,008

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false

1

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13142

sculpture wood paint

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AC6

2,008

Tate

2008

CLEARED

8

object: 373 × 1705 × 23 mm

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

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null

false

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false

artwork

Wood and aluminium

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118,302

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2,008

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AC8

2,013

[]

Presented by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

T13771

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false

1

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AC8

2,008

Tate

2008

CLEARED

8

object: 1130 × 900 × 300 mm

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

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null

false

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false

artwork

Wood, rope, paint, buoy, metal and hemp cord

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118,304

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2,008

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AC9

2,013

[]

Presented by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

T13772

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

7007227 7005575 7005560

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2,008

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false

1

https://media.tate.org.u…13/T13772_10.jpg

13142

sculpture wood rope paint buoy metal hemp cord

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AC9

2,008

Tate

2008

CLEARED

8

object: 200 × 3000 × 690 mm

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

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null

false

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false

artwork

Wood, wool, metal and hemp cord

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118,305

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2,008

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AC11

2,013

[]

Presented by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

T13773

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7007227 7005575 7005560

Abraham Cruzvillegas

2,008

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false

1

https://media.tate.org.u…13/T13773_10.jpg

13142

sculpture wood wool metal hemp cord

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AC11

2,008

Tate

2008

CLEARED

8

unconfirmed: 650 × 280 × 200 mm

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

[]

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null

false

64 3425 4063 2476 21034 12833 83 21062 31 15901 189 11466 156 222 6852 5114 21050 1306 21051 3412 1719 158 18164 86 8285 1297 21033

false

artwork

Wood, sheep excrement, plaster, cardboard and steel

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118,307

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2,008

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AC Shit Models

2,013

[]

Presented by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

T13774

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

7007227 7005575 7005560

Abraham Cruzvillegas

2,008

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false

1

https://media.tate.org.u…13/T13774_10.jpg

13142

sculpture wood sheep excrement plaster cardboard steel

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AC: Shit Models

2,008

Tate

2008

CLEARED

8

object: 1650 × 550 × 500 mm

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

[]

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null

false

64 3425 4063 2476 21034 12833 83 5918 21062 31 15901 189 11466 156 796 222 6852 5114 21050 185 1306 10924 174 21051 3412 1719 158 86 8285 1297 21033

false

artwork

Mirror, plastic and metal

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118,309

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2,008

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AC Museum AC

2,013

[]

Presented by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

T13775

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

7007227 7005575 7005560

Abraham Cruzvillegas

2,008

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false

1

https://media.tate.org.u…13/T13775_10.jpg

13142

sculpture mirror plastic metal

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AC: The Museum of AC

2,008

Tate

2008

CLEARED

8

object: 250 × 380 × 60 mm

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

[]

[ "Argyll and Bute", "cities, towns, villages (non-UK)", "consumerism", "contemporary society", "countries and continents", "Cove Park", "cultural identity", "domestic", "economy", "emotions and human qualities", "emotions, concepts and ideas", "formal qualities", "fragility", "furnishings", "Glasgow - non-specific", "health and welfare", "lifestyle and culture", "memory", "Mexico", "Mexico City, Pedregales de Coyoacán", "mirror", "objects", "places", "poverty", "recycling", "refuse", "Scotland", "screw driver", "social comment", "society", "tools and machinery", "UK cities, towns and villages", "UK counties", "UK countries and regions", "UK man-made landmarks" ]

null

false

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Acrylic paint on printed papers and wood

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2,008

<a href="https://www.tate.org.uk/art/artists/abraham-cruzvillegas-13142" aria-label="More by Abraham Cruzvillegas" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Abraham Cruzvillegas</a>

AC Blind dates 1

2,013

[]

Presented by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

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Abraham Cruzvillegas

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[]

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https://media.tate.org.u…13/T13776_10.jpg

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sculpture acrylic paint printed papers wood

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AC: Blind dates 1

2,008

Tate

2008

CLEARED

8

Overall display dimensions variable

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

[]

null

false

artwork

Acrylic paint on printed papers and wood

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118,319

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2,008

<a href="https://www.tate.org.uk/art/artists/abraham-cruzvillegas-13142" aria-label="More by Abraham Cruzvillegas" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Abraham Cruzvillegas</a>

AC Blind dates 2

2,013

[]

Presented by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

T13777

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Abraham Cruzvillegas

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[]

false

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https://media.tate.org.u…13/T13777_10.jpg

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sculpture acrylic paint printed papers wood

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AC: Blind dates 2

2,008

Tate

2008

CLEARED

8

Overall display dimensions variable

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

[]

null

false

artwork

Acrylic paint on printed papers and wood

[ { "append_role_to_name": false, "date": "born 1968", "fc": "Abraham Cruzvillegas", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/abraham-cruzvillegas-13142" } ]

118,320

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2,008

<a href="https://www.tate.org.uk/art/artists/abraham-cruzvillegas-13142" aria-label="More by Abraham Cruzvillegas" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Abraham Cruzvillegas</a>

AC Blind dates 4

2,013

[]

Presented by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

T13778

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

7007227 7005575 7005560

Abraham Cruzvillegas

2,008

[]

false

1

https://media.tate.org.u…13/T13778_10.jpg

13142

sculpture acrylic paint printed papers wood

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AC: Blind dates 4

2,008

Tate

2008

CLEARED

8

Overall display dimensions variable

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

[]

null

false

artwork

Acrylic paint on newspapers, postcards, envelopes, tickets, wraps, drawings, posters, flyers, stickers, card, recipes, prescriptions, maps, napkins and steel pins

[ { "append_role_to_name": false, "date": "born 1968", "fc": "Abraham Cruzvillegas", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/abraham-cruzvillegas-13142" } ]

118,321

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2,008

<a href="https://www.tate.org.uk/art/artists/abraham-cruzvillegas-13142" aria-label="More by Abraham Cruzvillegas" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Abraham Cruzvillegas</a>

AC Blind Self Portrait GlasgowCove Park

2,013

[]

Presented by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

T13779

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

7007227 7005575 7005560

Abraham Cruzvillegas

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1

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AC: Blind Self Portrait: Glasgow-Cove Park

2,008

Tate

2008

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5

overall displayed dimensions variable

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Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

[]

[ "abstraction", "animals: features", "Argyll and Bute", "cities, towns, villages (non-UK)", "colour", "consumerism", "contemporary society", "countries and continents", "Cove Park", "cultural identity", "domestic", "economy", "emotions and human qualities", "emotions, concepts and ideas", "formal qualities", "fragility", "from recognisable sources", "Glasgow - non-specific", "health and welfare", "irregular forms", "lifestyle and culture", "man-made", "memory", "Mexico", "Mexico City, Pedregales de Coyoacán", "monochromatic", "non-representational", "objects", "people", "places", "portraits", "poverty", "recycling", "refuse", "Scotland", "self-portraits", "social comment", "society", "suspension", "tools and machinery", "UK cities, towns and villages", "UK counties", "UK countries and regions", "UK man-made landmarks", "wood", "wool" ]

null

false

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false

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Ceramic, metal, wood, natural fibres and paint

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118,322

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2,008

<a href="https://www.tate.org.uk/art/artists/abraham-cruzvillegas-13142" aria-label="More by Abraham Cruzvillegas" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Abraham Cruzvillegas</a>

AC7

2,013

[]

Presented by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

T13780

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

7007227 7005575 7005560

Abraham Cruzvillegas

2,008

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false

1

https://media.tate.org.u…13/T13780_10.jpg

13142

sculpture ceramic metal wood natural fibres paint

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AC7

2,008

Tate

2008

CLEARED

8

object: 775 × 330 × 1275 mm

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

[]

[ "Argyll and Bute", "bowl", "brush", "cities, towns, villages (non-UK)", "consumerism", "contemporary society", "countries and continents", "Cove Park", "cultural identity", "domestic", "economy", "emotions and human qualities", "emotions, concepts and ideas", "formal qualities", "fragility", "Glasgow - non-specific", "health and welfare", "lifestyle and culture", "memory", "Mexico", "Mexico City, Pedregales de Coyoacán", "objects", "places", "poverty", "recycling", "refuse", "Scotland", "social comment", "society", "tools and machinery", "UK cities, towns and villages", "UK counties", "UK countries and regions", "UK man-made landmarks", "vessels and containers", "wire" ]

null

false

3425 264 9366 4063 2476 21034 12833 83 21062 31 15901 11466 156 6852 5114 21050 1306 21051 3412 1719 158 86 8285 170 1298

false

artwork

Wood, metal and hemp cord

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118,323

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2,008

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AC10

2,013

[]

Presented by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

T13781

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

7007227 7005575 7005560

Abraham Cruzvillegas

2,008

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false

1

https://media.tate.org.u…13/T13781_10.jpg

13142

sculpture wood metal hemp cord

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AC10

2,008

Tate

2008

CLEARED

8

object: 1250 × 120 × 80 mm

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

[]

[ "Argyll and Bute", "cities, towns, villages (non-UK)", "contemporary society", "countries and continents", "Cove Park", "cultural identity", "domestic", "economy", "emotions and human qualities", "emotions, concepts and ideas", "formal qualities", "fragility", "Glasgow - non-specific", "health and welfare", "lifestyle and culture", "memory", "Mexico", "Mexico City, Pedregales de Coyoacán", "objects", "places", "poverty", "recycling", "refuse", "Scotland", "social comment", "society", "suspension", "tools and machinery", "UK cities, towns and villages", "UK counties", "UK countries and regions", "UK man-made landmarks", "wood" ]

null

false

3425 2476 21034 12833 83 21062 31 15901 11466 156 6852 5114 21050 1306 21051 3412 1719 158 18164 86 8285 1297

false

artwork

Acrylic paint on found posters and wood

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118,324

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2,008

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AC Blind dates 3

2,013

[]

Presented by the American Fund for the Tate Gallery, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

T13782

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

7007227 7005575 7005560

Abraham Cruzvillegas

2,008

[]

false

1

https://media.tate.org.u…13/T13782_10.jpg

13142

sculpture acrylic paint found posters wood

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AC: Blind dates 3

2,008

Tate

2008

CLEARED

8

Overall display dimensions variable

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the Latin American Acquisitions Committee with additional assistance from Jack Kirkland 2012

[]

null

false

artwork

Oil paint on canvas

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118,328

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2,005

<a href="https://www.tate.org.uk/art/artists/rose-wylie-obe-17422" aria-label="More by Rose Wylie OBE" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Rose Wylie OBE</a>

Pin Up and Porn Queen Jigsaw

2,013

[]

Presented by Tate Members 2013

T13784

{ "id": 6, "meta": { "type": "art.Classification" } }

7011557 7008153 7002445 7008591

Rose Wylie OBE

2,005

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Wylie’s subject matter is often drawn from popular culture. Ranging from film stars to footballers, she describes the people she paints as ‘shared contemporary gods, outside of art and religion’. Her bold paintings confront what she sees as society’s obsession with style and self-image. The ‘pin-up’ of the title is the figure on the left, based on Marilyn Monroe in the 1961 film The Misfits. The head on the right is Annabel Chong, drawn from Wylie’s memory of a television documentary about the pornographic film actress.Gallery label, May 2019

false

1

https://media.tate.org.u…13/T13784_10.jpg

17422

painting oil paint canvas

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Pin Up and Porn Queen Jigsaw

2,005

Tate

2005

CLEARED

6

unconfirmed: 3660 × 3660 mm

accessioned work

Tate

Presented by <a href="/search?gid=999999973" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Tate Members</a> 2013

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[ "abstraction", "adults", "body", "cartoon / comic strip", "emotions, concepts and ideas", "female", "figure", "formal qualities", "from recognisable sources", "head / face", "inscriptions", "jigsaw", "nudes", "number", "objects", "people", "pornography", "social comment", "society", "symbols and personifications", "toys and models", "woman" ]

null

false

93 16105 519 221 189 615 166 3316 98 2472 8598 158 89 167

false

artwork

Acrylic paint on canvas

[ { "append_role_to_name": false, "date": "born 1962", "fc": "Gabriel Orozco", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/gabriel-orozco-2685" } ]

118,330

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

2,005

<a href="https://www.tate.org.uk/art/artists/gabriel-orozco-2685" aria-label="More by Gabriel Orozco" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Gabriel Orozco</a>

Samurai Tree Invariant 5

2,013

[]

Presented by HRH Princess Firyal of Jordan 2013

T13785

{ "id": 6, "meta": { "type": "art.Classification" } }

7005560

Gabriel Orozco

2,005

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false

1

https://media.tate.org.u…13/T13785_10.jpg

2685

painting acrylic paint canvas

[ { "artistRoomsTour": false, "dateText": "1 February 2025 – 6 August 2025", "endDate": "2025-08-06", "exhibitionLegs": [ { "dateText": "1 February 2025 – 6 August 2025", "endDate": "2025-08-06", "id": 16122, "startDate": "2025-02-01", "venueName": "Museo Jumex (Mexico City, Mexico)", "venueWebsiteUrl": null } ], "id": 13219, "startDate": "2025-02-01", "title": "Gabriel Orozco: Air is dust", "type": "Loan-out" } ]

Samurai Tree (Invariant 5)

2,005

Tate

2005

CLEARED

6

unconfirmed: 1198 × 1198 mm

accessioned work

Tate

Presented by HRH Princess Firyal of Jordan 2013

[]

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

null

false

225 226 185

false

artwork

Oil paint and graphite on canvas

[ { "append_role_to_name": false, "date": "born 1972", "fc": "Caragh Thuring", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/caragh-thuring-17408" } ]

118,333

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2,012

<a href="https://www.tate.org.uk/art/artists/caragh-thuring-17408" aria-label="More by Caragh Thuring" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Caragh Thuring</a>

Arthur Kennedy

2,013

[]

Purchased using funds provided by the 2012 Outset / Frieze Art Fair Fund to benefit the Tate Collection 2013

T13786

{ "id": 6, "meta": { "type": "art.Classification" } }

7011781 7018237 1000063

Caragh Thuring

2,012

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false

1

https://media.tate.org.u…13/T13786_10.jpg

17408

painting oil paint graphite canvas

[ { "artistRoomsTour": false, "dateText": "14 March 2014 – 15 March 2015", "endDate": "2015-03-15", "exhibitionLegs": [ { "dateText": "14 March 2014 – 15 March 2015", "endDate": "2015-03-15", "id": 8708, "startDate": "2014-03-14", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 7148, "startDate": "2014-03-14", "title": "Gallery 55, 56 and 59", "type": "Collection based display" } ]

Arthur Kennedy

2,012

Tate

2012

CLEARED

6

support: 1219 × 1829 mm

accessioned work

Tate

Purchased using funds provided by the 2012 <a href="/search?gid=999999778" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Outset / Frieze Art Fair Fund to benefit the Tate Collection</a> 2013

[]

[ "abstraction", "architecture", "building", "cities, towns, villages (non-UK)", "countries and continents", "features", "from recognisable sources", "industrial", "man-made", "New York - non-specific", "places", "structure", "USA", "wall" ]

null

false

18627 17 189 19 222 5033 7205 1811 700

false

artwork

Oil paint on canvas

[ { "append_role_to_name": false, "date": "1927–1997", "fc": "Hideko Fukushima", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/hideko-fukushima-17414" } ]

118,335

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1,963

<a href="https://www.tate.org.uk/art/artists/hideko-fukushima-17414" aria-label="More by Hideko Fukushima" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Hideko Fukushima</a>

Arc 8

2,013

Ko 8

[]

Purchased using funds provided by the 2012 Outset / Frieze Art Fair Fund to benefit the Tate Collection 2013

T13787

{ "id": 6, "meta": { "type": "art.Classification" } }

21154

1000120 7004472 1001032 7000894 1000004

Hideko Fukushima

1,963

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false

1

https://media.tate.org.u…13/T13787_10.jpg

17414

painting oil paint canvas

[ { "artistRoomsTour": false, "dateText": "29 July 2013 – 20 April 2014", "endDate": "2014-04-20", "exhibitionLegs": [ { "dateText": "29 July 2013 – 20 April 2014", "endDate": "2014-04-20", "id": 8670, "startDate": "2013-07-29", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 6890, "startDate": "2013-07-29", "title": "Jikken Kobo", "type": "Collection based display" } ]

Arc 8

1,963

Tate

1963

CLEARED

6

support: 965 × 965 mm

accessioned work

Tate

Purchased using funds provided by the 2012 <a href="/search?gid=999999778" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Outset / Frieze Art Fair Fund to benefit the Tate Collection</a> 2013

[]

[ "abstraction", "irregular forms", "non-representational" ]

null

false

796 185

false

artwork

Oil paint and acrylic paint on canvas

[ { "append_role_to_name": false, "date": "born 1963", "fc": "Julie Roberts", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/julie-roberts-2755" } ]

118,347

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999976, "shortTitle": "Tate American Fund" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,995

<a href="https://www.tate.org.uk/art/artists/julie-roberts-2755" aria-label="More by Julie Roberts" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Julie Roberts</a>

Restraining Jacket Male

2,013

[]

Presented by the American Fund for the Tate Gallery, courtesy of Peter Norton 2012

T13794

{ "id": 6, "meta": { "type": "art.Classification" } }

7008549 5000557 7002443 7008591

Julie Roberts

1,995

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Restraining Jacket (Male) is one of a large group of paintings Roberts made during the first half of the 1990s based on objects associated with the medical system. The images are derived from photographs found in trade catalogues or taken by the artist herself. The subjects she chose for this group of paintings include such equipment as medical gadgetry (Oxygen & Anaesthetic Machines and High Performance Mammary Silicone Implant, 200cc, both 1992), horizontal supports for bodies (Obstetrics and Gynaecology Couch and Theatre Trolley, both 1992, Hospital Bed, Operating Table, Mortuary Slab, all 1993), various sorts of chairs (Assessment Chair, 1993, Dentist’s Chair, 19th Century, 1994 and Special Needs Pushchair, 1995) and hospital clothing (Hospital Gown (Whites), 1993, Restraining Coat 2, Female, 1995). Typically, the isolated objects are set centrally against a single colour ground, often with tonal vertical stripes, as in Restraining Jacket (Male). In this painting, a brilliant white garment trailing complex ribbons and tapes floats in a dark blue ground. The jacket is depicted as though it is lying on a flat surface, in contrast to Restraining Coat 2, Female, which appears to be inhabited by an invisible standing body. In this period of Roberts’s work, the human bodies for which all the medical accoutrements are designed are entirely absent or suggested only as volumes under fabric, as in Restraining Coat 2, Female, or under the drapes of a mortuary table, as in Mortuary Slab. When figures become visible from 1996 onwards, they are corpses with covered faces, eviscerated anatomical models, sleepers, death masks and more grisly murder victims. Roberts returned to the subject of medical restraint in 2001 with Restraining Coat with Stand, in which the jacket takes its form from a wooden stand placed on a tasselled mat.

false

1

https://media.tate.org.u…13/T13794_10.jpg

2755

painting oil paint acrylic canvas

[ { "artistRoomsTour": false, "dateText": "25 June 2014 – 25 January 2015", "endDate": "2015-01-25", "exhibitionLegs": [ { "dateText": "25 June 2014 – 25 January 2015", "endDate": "2015-01-25", "id": 8525, "startDate": "2014-06-25", "venueName": "Scottish National Gallery of Modern Art (Edinburgh, UK)", "venueWebsiteUrl": "http://www.nationalgalleries.org/" } ], "id": 6994, "startDate": "2014-06-25", "title": "GENERATION: 25 Years of Contemporary Art in Scotland", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "1 March 2025 – 30 September 2026", "endDate": "2026-09-30", "exhibitionLegs": [ { "dateText": "1 March 2025 – 30 June 2025", "endDate": "2025-06-30", "id": 15355, "startDate": "2025-03-01", "venueName": "External", "venueWebsiteUrl": null }, { "dateText": "1 August 2025 – 31 December 2025", "endDate": "2025-12-31", "id": 15356, "startDate": "2025-08-01", "venueName": "External", "venueWebsiteUrl": null }, { "dateText": "1 February 2026 – 31 May 2026", "endDate": "2026-05-31", "id": 15357, "startDate": "2026-02-01", "venueName": "External", "venueWebsiteUrl": null }, { "dateText": "1 June 2026 – 31 December 2026", "endDate": "2026-12-31", "id": 15455, "startDate": "2026-06-01", "venueName": "External", "venueWebsiteUrl": null } ], "id": 12607, "startDate": "2025-03-01", "title": "YBA and Beyond", "type": "Loan-out" } ]

Restraining Jacket (Male)

1,995

Tate

1995

CLEARED

6

support: 1525 × 1525 × 38 mm

accessioned work

Tate

Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of Peter Norton 2012

[ { "ajax_url": null, "canonical_url": null, "content": "Restraining Jacket (Male) is one of a large group of paintings Roberts made during the first half of the 1990s based on objects associated with the medical system. The images are derived from photographs found in trade catalogues or taken by the artist herself. The subjects she chose for this group of paintings include such equipment as medical gadgetry (Oxygen & Anaesthetic Machines and High Performance Mammary Silicone Implant, 200cc, both 1992), horizontal supports for bodies (Obstetrics and Gynaecology Couch and Theatre Trolley, both 1992, Hospital Bed, Operating Table, Mortuary Slab, all 1993), various sorts of chairs (Assessment Chair, 1993, Dentist’s Chair, 19th Century, 1994 and Special Needs Pushchair, 1995) and hospital clothing (Hospital Gown (Whites), 1993, Restraining Coat 2, Female, 1995). Typically, the isolated objects are set centrally against a single colour ground, often with tonal vertical stripes, as in Restraining Jacket (Male). In this painting, a brilliant white garment trailing complex ribbons and tapes floats in a dark blue ground. The jacket is depicted as though it is lying on a flat surface, in contrast to Restraining Coat 2, Female, which appears to be inhabited by an invisible standing body. In this period of Roberts’s work, the human bodies for which all the medical accoutrements are designed are entirely absent or suggested only as volumes under fabric, as in Restraining Coat 2, Female, or under the drapes of a mortuary table, as in Mortuary Slab. When figures become visible from 1996 onwards, they are corpses with covered faces, eviscerated anatomical models, sleepers, death masks and more grisly murder victims. Roberts returned to the subject of medical restraint in 2001 with Restraining Coat with Stand, in which the jacket takes its form from a wooden stand placed on a tasselled mat.\n \n Although they are realistically painted, the objects cast no shadows against the surrounding ground, resisting any reading of them as still lives. There is a subtle stylisation in Roberts’s manner of painting that suggests that the objects inhabit a symbolic realm. By isolating them from their background Roberts evokes the processes of clinical objectification necessary to the examination and treatment of sick or dead bodies. The background vertical stripes recall those used by Francis Bacon (1909-1992) in such paintings as The Seated Figure, 1961 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bacon-seated-figure-t00459\" title=\"View the details of this artwork\">T00459</a>) or Study after Velázquez’s Portrait of Pope Innocent X, 1953, where they suggest the folds of drapery. Single-colour, monotone backgrounds also feature frequently in Bacon’s work. Roberts’s paintings convey a strong sense of the uncanny, described by Sigmund Freud (1856-1939) in his famous essay The Uncanny (1925) as derived from the simultaneous familiarity and strangeness of things. Freud discussed The Sandman (1816) by ETA Hoffmann (1776-1822), which features the doll Olympia who appears to be a real woman. Her unveiling as a fraud is a moment of deep trauma related to a collision of death with life or representation with reality. Despite their obvious status as representations, Roberts’s paintings inhabit this traumatic realm through their evocation of haunting absences and the physical and emotional distress usually associated with hospital experiences. They similarly recall another Freudian subject, that of fetishism, a notion that became prominent in the early 1990s in cultural theory and writing about art. In another essay, published in 1927, Freud suggested that fetishism – which involves conferring desire onto an inanimate object or separated body part – was the result of a psychological trauma, usually occurring during childhood. \n \n Medical implements and their environment have played a prominent role in Roberts’s life. During a troubled childhood in North Wales, she often stayed in a former morgue which had been converted into a refuge. Her mother worked in a nursing home and she would spend her visits there drawing the equipment and furniture used by the staff and inmates. Later, during her MFA at Glasgow School of Art (1988-90), Roberts visited the Glasgow Royal Infirmary and drew hospital apparatus she found there. In Glasgow she encountered the work of the American artist Sarah Charlesworth (born 1947) at an exhibition entitled Reorienting East at Glasgow’s Third Eye Centre in 1990. Charlesworth’s photographic series Objects of Desire (1983-6) portrays isolated iconic images on monochrome grounds, showing a process of artistic fetishisation. Restraining Jacket (Male) also recalls the work of Lisa Milroy (born 1959) whose paintings in the mid to late 1980s featured everyday objects depicted against a neutral ground. Such paintings as Shoes, 1985 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/milroy-shoes-t06532\" title=\"View the details of this artwork\">T06532</a>) and Light Bulbs, 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/milroy-light-bulbs-t05217\" title=\"View the details of this artwork\">T05217</a>) show groups of ordinary things lined up on white backgrounds as though listed from a mail-order catalogue or classified for an inventory. In 1990 in Glasgow, in a project entitled Womanhouse, Roberts painted a list-like row of gynaecological instruments around the walls of a room in a work she retrospectively titled Treatment Room. The objects are loaded with a Surrealist sense of hidden meanings and emotional symbolism.\n \n \n Further Reading:\n Home: Works by Julie Roberts 1993-2003, New York 2003, p.9, reproduced p.28 in colour.\n Julie Roberts, exhibition catalogue, Centre for Contemporary Arts, Glasgow 1992.\n Wall to Wall, exhibition catalogue, National Touring Exhibitions, South Bank Centre, London 1994, pp.64-7.\n \n Elizabeth Manchester\n November 2006\n \n \n \n", "display_name": "Summary", "publication_date": "2007-01-16T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "\r\nThe painting was executed on a single piece of medium-weight, plain-weave cotton duck canvas that was stretched around an expandable softwood stretcher and attached with wire staples at the rear. The canvas was then primed with a thin coat of white acrylic emulsion gesso, which was applied by brush in horizontal strokes to the stretched face and all four edges of the canvas. The canvas weave texture remains very evident through it.\r\n\n\r\nThe paint is a combination of acrylic emulsion and oil paint. The background blue is acrylic emulsion and was the first paint layer to be applied over the entire stretched (and primed) face. The vertical line effect was achieved through using two slightly different shades of a deep blue and it is likely that the very straight lines were achieved with the assistance of either masking tape or a ruling pen. The paint was probably thinned slightly with water and applied in more than one coat for each blue, but the resulting paint thickness is still reasonably thin. There is an even gloss over each colour band. Once this had dried completely, the off white colour used for the straight jacket was applied. This paint is oil colour and would have had a much thicker consistency (compared to the blue acrylic). It can be seen to have held its impasto extremely well. This was then cut back into with implements such as a brush handle and/or palette knife to produce the cuts and channels seen in the paint surface. The other colours were then applied, also in oil paint. Much of the shading in blacks and grey was carried out using a wet-in-wet technique. However, the thin and often vividly coloured lines that lie in these channels have hardly disturbed the underlying white paint at all, which suggests that they were painted at a later stage, when the white paint had dried more thoroughly.\r\n\n\r\nThe painting is in excellent condition, but is vulnerable to scratches and finger marks from inappropriate handling. It is therefore important that it is displayed behind a barrier and handled carefully to ensure that no such marks appear on its near-pristine surface.\r\n\n\r\nTom Learner \r\nAugust 2000\r\n\n", "display_name": "Technique and condition", "publication_date": "2001-08-10T00:00:00", "slug_name": "technique-and-condition", "type": "TECHNIQUE_AND_CONDITION_TEXT" } ]

[ "medical", "objects", "straitjacket" ]

null

false

171 9928

false

artwork

41 photographs, colour, on paper and graphite on wall

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118,348

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1,972

<a href="https://www.tate.org.uk/art/artists/john-baldessari-687" aria-label="More by John Baldessari" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">John Baldessari</a>

Aligning Balls

2,013

[]

Purchased with assistance from Tate Members, the Art Fund, Tate International Council and private donors 2013

T13795

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

prints_and_drawings

421

2012892 1002858 7007157 7012149 7015349 7023900 1002608

John Baldessari

1,972

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true

1

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687

installation 41 photographs colour paper graphite wall

[ { "artistRoomsTour": false, "dateText": "13 October 2009 – 9 January 2011", "endDate": "2011-01-09", "exhibitionLegs": [ { "dateText": "13 October 2009 – 10 January 2010", "endDate": "2010-01-10", "id": 4168, "startDate": "2009-10-13", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" }, { "dateText": "10 February 2010 – 25 April 2010", "endDate": "2010-04-25", "id": 4382, "startDate": "2010-02-10", "venueName": "Museu d’Art Contemporani de Barcelona (Barcelona, Spain)", "venueWebsiteUrl": null }, { "dateText": "27 June 2010 – 12 September 2010", "endDate": "2010-09-12", "id": 4385, "startDate": "2010-06-27", "venueName": "Los Angeles County Museum of Art (Los Angeles, USA)", "venueWebsiteUrl": null }, { "dateText": "19 October 2010 – 9 January 2011", "endDate": "2011-01-09", "id": 4383, "startDate": "2010-10-19", "venueName": "Metropolitan Museum of Art (New York, USA)", "venueWebsiteUrl": "http://www.metmuseum.org" } ], "id": 3519, "startDate": "2009-10-13", "title": "John Baldessari: Pure Beauty", "type": "Exhibition" } ]

Aligning: Balls

1,972

Tate

1972

Prints and Drawings Rooms

CLEARED

3

image, each: 79 × 116 mm support: 87 × 126 mm

accessioned work

Tate

Purchased with assistance from <a href="/search?gid=999999973" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Tate Members</a>, the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a>, Tate International Council and private donors 2013

[]

[ "alignment", "ball", "chance", "emotions, concepts and ideas", "formal qualities", "landscape", "objects", "palm", "photographic", "repetition", "sky", "sports and games" ]

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20237 955 12875 1831 9328 9024 4574 285

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Pastel on paper

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118,349

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1,790

<a href="https://www.tate.org.uk/art/artists/ozias-humphry-284" aria-label="More by Ozias Humphry" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Ozias Humphry</a>

Christiaan van Molhoop

2,013

[]

Purchased with assistance from Tate Members and the Sir Robert Horton Bequest 2013

T13796

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7011311 7012077 7002445 7008591 7011781 7008136

Ozias Humphry

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Christiaan van Molhoop was the running footman to Baron Nagell, the Dutch ambassador in Britain. He wears a flamboyant uniform, which was typical for Nagell’s servants. Despite the painting’s landscape setting, Molhoop was based in London from 1788–1803. His presence in the city speaks to the global movement of people during this period. Enslaved at birth in Suriname (a former Dutch colony), he was taken to Amsterdam in 1761. After his freedom was formally recognised in 1779, Molhoop travelled to Guyana, probably Suriname, and then London, before returning to the Netherlands.Gallery label, April 2023

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[ { "artistRoomsTour": false, "dateText": "11 April 2014 – 21 September 2014", "endDate": "2014-09-21", "exhibitionLegs": [ { "dateText": "11 April 2014 – 21 September 2014", "endDate": "2014-09-21", "id": 8812, "startDate": "2014-04-11", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 7226, "startDate": "2014-04-11", "title": "The Craze for Pastel", "type": "Collection based display" } ]

Christiaan van Molhoop

1,790

Tate

c.1795

CLEARED

5

support: 725 × 610 mm frame: 970 × 850 × 80

accessioned work

Tate

Purchased with assistance from <a href="/search?gid=999999973" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Tate Members</a> and the Sir Robert Horton Bequest 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nBaron Nagell’s Running Footman c.1795 is a half-length portrait in pastel by the artist Ozias Humphry showing a black man dressed in a vividly coloured livery with elaborate, feathered head-gear. The subject is turned towards the viewer, with trees to the left of him and a low, open, but undistinguishable landscape and distant blue hills beyond. He wears a bright blue and red tunic and a voluminous white ruffled shirt. His towering headpiece consists of a red cap trimmed with silver braid with a turban-like band of white silk around it, crowned with red, white and blue feathers.\nStaff at the art dealer Hazlitt, Gooden and Fox in London initially identified the work as being made by John Russell, apparently on purely stylistic grounds. Following advice from the leading expert on eighteenth-century pastellists, Neil Jeffares, and further research into the published and archival sources, the work has been re-identified by Tate as Ozias Humphry’s portrait of the black servant of Baron Nagell, exhibited at the Royal Academy, London, in 1795. The attribution to Humphry was published in Jeffares’s Dictionary of British Pastellists before 1800 (London 2006, p.257), with the possibility that the sitter was either Baron Nagell’s servant or ‘An African Prince’. Jeffares has now revised the identification in the online edition of the Dictionary with a firm sitter attribution of Baron Nagell’s servant (see <a href=\"http://www.pastellists.com/Articles/Humphry.pdf\">http://www.pastellists.com/Articles/Humphry.pdf</a>, accessed 26 June 2018). Independently staff at Hazlitt, Gooden and Fox also reattributed the work to Humphry, and concur with the identification as Baron Nagell’s servant. There is no other documented image of a black sitter by Humphry, and alongside the Royal Academy exhibition record of 1795, a manuscript catalogue of the artworks that remained in Humphry’s collection towards the end of his life, made by his illegitimate son and heir William Upcott, securely identifies the existence of a portrait of Nagell’s servant. The listing reads: ‘Crayon Pictures: no.4 The Black Running Footman of the Baron Nagel. ¾ length. Framed and glazed’ (Catalogue of the Art Collection of Ozias Humphry, Upcott Papers, British Library, London, Add MS 49682). The present work is almost certainly that included in Upcott’s posthumous sale of June 1846, although at that time listed as ‘A Portrait of the Artist’s Black Servant’. By the early twentieth century the work had entered the London collection of Sir Cuthbert Quilter. In a catalogue for this collection (undated, but presumably before 1909), the pastel is listed and illustrated as ‘An African Prince’ by Humphry, executed ‘at the request of the English Government’. It was discussed and illustrated as such in a Connoisseur article in 1909 and sold by Quilter at Christie’s under that name on 9 July the same year. The period between Upcott’s death and the portrait’s inclusion in Quilter’s collection presently remains unaccounted for, although the work was bought at Upcott’s sale by an individual named ‘Rodd’, according to an annotated sale catalogue (Catalogue of the Collection of Prints, Pictures, and Curiosities of the Late William Upcott, Esq., Messrs Evans, 25 June 1846, annotated copy, National Art Library, London, NAL 23.L). This was probably the antiquarian bookdealer Thomas Rodd, who according to art historian G.C. Williamson bought many of the Upcott papers at the sale in 1846. At the Christie’s sale in 1909, the portrait was bought by Gooden and Fox who sold it to a private collector in Dorset, where it remained until passing to Hazlitt, Gooden and Fox.\nAn examination of similar pastel portraits made by Humphry in the mid-1790s, including those now at the National Portrait Gallery, London, further confirms this attribution. The pastel technique of Francis Haward 1794, in particular, is very close to this work, not least in the characteristic use of unblended strokes of pastel on the sitter’s face to give a peculiarly ‘liney’ appearance. This is in notable contrast to the highly blended appearance of the clothing and slightly awkward anatomy in both works. Humphry, better known as a miniaturist, turned to pastel on his return from India in 1788 and became ‘Portrait Painter in Crayons to his Majesty’ in 1792.\nConsultation with leading historical dress expert Aileen Ribeiro has also corroborated the sitter identification. In correspondence with Tate curator Ruth Kenny, she has suggested that, belying Quilter’s identification, there is nothing specifically ‘African’ about the sitter’s costume and that he is, in fact, wearing a servant’s uniform, specifically that of a running footman, who were noted for their ‘exotic’ feathered headdresses, caps with silver braid and a turban-like band of white silk around them. Further strengthening the connection between the work exhibited at the Royal Academy and this picture is the tricolour theme of the sitter’s apparel. Baron Anne Willem Carel van Nagell van Ampsen was Dutch Ambassador to London and this colour scheme corresponds with the red, white and blue of the Dutch flag. Two drawings dating from c.1766 of servants at the court of the Stadholder William V, by Isaac Lodewijk La Fargue van Nieuwland, now at the Rijksmusuem, Amsterdam, show very similar costumes. Furthermore, Baron Nagell was known for his flamboyantly dressed servants. A contemporary reference to his first court appearance in London in March 1788 noted that ‘he makes a splendid appearance with his footmen in scarlet and silver and a gay page or Running footman was vastly well Received’. (Abigail Adams to John Adams, London, 7 March 1788, in Margaret A. Hogan (ed.), The Adams Papers: Adams Family Correspondence, vol.8, Cambridge, Massachusetts 2007, p.242.) Future research into Nagell’s considerable Dutch correspondence and other contemporary sources may reveal the name and identity of the footman pictured by Humphry. It appears that this work formed part of a series of pastel portraits by Humphry of the Dutch court in exile. In 1796 Baron Nagell, a significant art collector himself, was instrumental in introducing Humphry to the Prince and Princess of Orange, at the artist’s request. Humphry subsequently produced two pastels of the couple, but after lengthy wrangling over the commission and payment for it, they were returned to the artist and are now lost, although the Prince’s portrait is recorded by an engraving (Williamson 1918, pp.167–9).\n\nFurther reading\n \nCatalogue of the Art Collection of Ozias Humphry, Upcott Papers, British Library, Add MS 49682. \nSir Cuthbert Quilter’s Pictures: London Collection, privately printed, undated (before 1909). G.C. Williamson, Life and Works of Ozias Humphry, London 1918.\nRuth Kenny July 2012, revised January 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-07-03T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nChristiaan van Molhoop was the running footman to Baron Nagell, the Dutch ambassador in Britain. He wears a flamboyant uniform, which was typical for Nagell’s servants. Despite the painting’s landscape setting, Molhoop was based in London from 1788–1803. His presence in the city speaks to the global movement of people during this period. Enslaved at birth in Suriname (a former Dutch colony), he was taken to Amsterdam in 1761. After his freedom was formally recognised in 1779, Molhoop travelled to Guyana, probably Suriname, and then London, before returning to the Netherlands.\n</div>\n", "display_name": "Online caption", "publication_date": "2023-11-30T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nOzias Humphry 1742–1810\n\nBaron Nagell’s Running Footman\n Exhibited 1795 Pastel on paper 725 x 610 mm Purchased from Hazlitt, Gooden and Fox, London with assistance from Tate Members and the Sir Robert Horton Bequest 2013 T13796\n\nOwnership history\n The artist, London; by descent to his illegitimate son William Upcott (1779–1845), London; his sale, Evans, London, 25 June 1846, lot 448 (as ‘Portrait of the Artist’s Black Servant, in Crayons, framed, plate glass’), where bought by Thomas Rodd (1796–1849), London … Sir William Cuthbert Quilter, 1st Baronet (1841–1911), London; his sale, Christie’s, London, 9 July 1909, lot 88 (as ‘African Prince’), where bought by Gooden and Fox, London; private collection, Dorset; by descent; sold by Hazlitt, Gooden and Fox, London to Tate in 2013.\n\nExhibition history\n \n<div class=\"tabbed-list-item\">\n<div class=\"left-block\">\n1795\n</div>\n<div class=\"right-block\">Royal Academy, London, no.434 (as ‘Baron Nagell’s Black’).</div>\n</div>\n\nReferences\n \n<div class=\"tabbed-list-item\">\n<div class=\"left-block\">\n1795\n</div>\n<div class=\"right-block\">\nSt James’s Chronicle, 14–16 May 1795.</div>\n</div>\n<div class=\"tabbed-list-item\">\n<div class=\"left-block\">\n1909\n</div>\n<div class=\"right-block\">\nSir Cuthbert Quilter’s Pictures, London Collection, undated (?1909), no.8, reproduced (as ‘An African Prince’).</div>\n</div>\n<div class=\"tabbed-list-item\">\n<div class=\"left-block\">\n1909\n</div>\n<div class=\"right-block\">William Roberts, ‘Sir Cuthbert Quilter’s London Collection’, Connoisseur, vol.24, 1909, p.168.</div>\n</div>\n<div class=\"tabbed-list-item\">\n<div class=\"left-block\">\n1918\n</div>\n<div class=\"right-block\">G.C. Williamson, Life and Works of Ozias Humphry, London 1918, p.282.</div>\n</div>\n<div class=\"tabbed-list-item\">\n<div class=\"left-block\">\n2006\n</div>\n<div class=\"right-block\">Neil Jeffares, ‘Humphry, Ozias’, Dictionary of Pastellists before 1800, London 2006, p.257 (as ‘Baron Nagell’s black’).</div>\n</div>\n<div class=\"tabbed-list-item\">\n<div class=\"left-block\">\n2008\n</div>\n<div class=\"right-block\">Neil Jaffares, ‘Humphry, Ozias’, Pastels & Pastellists, 2008, reproduced (as ‘Baron Nagell’s black’), <a href=\"http://www.pastellists.com/Articles/Humphry.pdf?zoom_highlight=humphry%22 \\l %22search=\\%E2%80%9Dhumphry\\%E2%80%9D\">http://www.pastellists.com/Articles/Humphry.pdf?zoom_highlight=humphry#search=”humphry”</a>, accessed 21 August 2013.</div>\n</div>\nThis three-quarter length portrait in pastel shows the running footman of Baron Anne Willem Carel van Nagell van Ampsen (1756–1851), Dutch Ambassador to London from 1788 to 1795. He wears a bright blue jerkin with a red collar and silver trimmings, red sleeves, a large, frilly white jabot and an elaborate headpiece apparently made up of red and white cloth bands around a silver metal helmet, arranged to resemble a turban and topped with large feathers dyed with broad red and blue stripes. The figure is posed before a low-set, open landscape, with blue hills in the distance and trees to the left. A running footman could be expected to serve as a messenger and to accompany his employer’s coach, as his ‘assistance was often wanted to support the coach on each side, to prevent it from being overturned’.<a class=\"endnote-link\" href=\"#endnote_1\" name=\"endnote_back_1\">1</a> His role was, then, emphatically public, announcing the presence of his employer to the world. Baron Nagell was known for his especially flamboyantly dressed servants and the livery worn by this figure reflects the red, white and blue of the Dutch flag. This work was exhibited at the Royal Academy in 1795, just weeks after the Dutch court was driven into exile in England by the French invasion of the Netherlands and the declaration of a new republic. Better known as a miniaturist, Humphry had turned to pastel due to failing eyesight on his return from India in 1788. This portrait is typical of Humphry’s output in the years after he was appointed ‘Portrait Painter in Crayons to his Majesty’ in 1792, demonstrating his characteristic and unusual use of unblended strokes of pastel on the sitter’s face. As a strikingly conceived work displayed in the leading public exhibition, and touching so directly on current affairs, Humphry must have hoped that this portrait would help further enhance his reputation in the art.\nBy the date of this portrait there are believed to have been 10,000–15,000 people of African and African-Caribbean descent working in London, many in domestic service. Black servants were a significant feature of eighteenth-century portraiture, and were often shown in striking livery and wearing turbans to evoke a sense of their ‘exotic’ character and associations with foreign luxury. They appear most frequently in an attending role in portraits of white sitters, occupying the corners of compositions or emerging from the background.<a class=\"endnote-link\" href=\"#endnote_2\" name=\"endnote_back_2\">2</a> This portrait is unusual in that it focuses so intently on the features of an unaccompanied, individual servant, rendered life-scale. It sits within a tradition of strongly characterised portraits of especially favoured or long-serving servants, generally commissioned by their employers.<a class=\"endnote-link\" href=\"#endnote_3\" name=\"endnote_back_3\">3</a> Whether the resulting effect is to convey a sense of individual autonomy or whether the portrait fits a pattern of stereotypical images is a matter of interpretation. As a portrait likeness of a black sitter dating from the late eighteenth century this pastel is exceptionally rare. There are only a handful of comparable images from the period, which would include Thomas Gainsborough’s portrait of the writer and composer Ignatius Sancho 1768 (National Gallery of Canada), the disputed portrait that may be of the author Olaudah Equiano (Royal Albert Memorial Museum & Art Gallery, Exeter), and Joshua Reynolds’s portrait of a young black man, identified as Francis Barber, Samuel Johnson’s manservant (Menil Foundation Collection, Houston) of which the Tate has two studio copies (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/reynolds-portrait-of-a-man-probably-francis-barber-n05843\" title=\"View the details of this artwork\">N05843</a> and Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/reynolds-portrait-of-a-man-probably-francis-barber-t01892\" title=\"View the details of this artwork\">T01892</a>).\nHazlitt, Gooden and Fox – the gallery from which Tate purchased the painting in 2013 – initially identified the work as by John Russell, apparently on purely stylistic grounds. The work has now been firmly re-attributed to Humphry, a contemporary of Russell’s and one of his main rivals. This attribution had previously been published by the art historian Neil Jeffares in his Dictionary of British Pastellists before 1800 (2006), and is corroborated by the identification of the work in a catalogue of Sir Cuthbert Quilter’s London collection (undated, but presumably around 1909), in which this work is listed as by Humphry and illustrated as ‘An African Prince’, executed ‘at the request of the English Government’.<a class=\"endnote-link\" href=\"#endnote_4\" name=\"endnote_back_4\">4</a> It was discussed and illustrated as such in a Connoisseur article in 1909 and sold by Quilter at Christie’s that same year. Comparison with similar pastel portraits made by Humphry in the mid-1790s confirms this attribution. In particular, the pastel technique of Francis Haward 1794 (National Portrait Gallery, London) is very close to this work, not least in the characteristic use of unblended strokes of pastel on the sitter’s face, giving a peculiarly ‘liney’ appearance, in notable contrast to the highly blended rendition of the clothing and slightly awkward anatomy apparent in both works. \nAlthough the modern literature has referred to the work as a portrait of an ‘African Prince’, consultation with leading historical dress expert Aileen Ribeiro suggests that, belying Quilter’s identification, there is nothing specifically ‘African’ about the sitter’s costume and that he is in fact wearing a servant’s uniform, specifically that of a running footman, who were noted for their ‘exotic’ feathered headdresses; caps with silver braid and a turban-like band of white silk around them (further references in the Quilter catalogue are also known to be erroneous suggesting that the identity of the sitter was lost and simply invented).<a class=\"endnote-link\" href=\"#endnote_5\" name=\"endnote_back_5\">5</a> Ribeiro’s supposition is corroborated by the manuscript catalogue of the works that remained in Humphry’s hands towards the end of his life, drawn up by his illegitimate son William Upcott around 1805, which includes ‘Crayon Pictures: no.4 The Black Running Footman of the Baron Nagel. ¾ length. Framed and glazed’.<a class=\"endnote-link\" href=\"#endnote_6\" name=\"endnote_back_6\">6</a> Further strengthening the connection between the exhibited work and this picture is the tricolour nature of the sitter’s apparel. Corresponding with Baron Nagell’s role as Dutch Ambassador the colouration may reflect the red, white and blue of the Dutch flag. Two drawings of servants at the court of the Stadholder William V, by Isaac Lodewijk La Fargue van Nieuwland, c.1766, now at the Rijksmusuem, show similar costumes.<a class=\"endnote-link\" href=\"#endnote_7\" name=\"endnote_back_7\">7</a> Furthermore, Baron Nagell was known for his flamboyantly dressed servants. A contemporary reference to his first court appearance in London in March 1788 noted that ‘he makes a splendid appearance with his footmen in scarlet and silver and a gay page or Running footman was vastly well Received’.<a class=\"endnote-link\" href=\"#endnote_8\" name=\"endnote_back_8\">8</a> Future research into Nagell’s considerable Dutch correspondence and other contemporary sources may reveal the name and full identity of the footman pictured by Humphry. It appears that this work formed part of a series of pastel portraits by Humphry of the Dutch court in exile. In 1796 Baron Nagell, a significant art collector himself, was instrumental in introducing Humphry to the Prince and Princess of Orange, at the artist’s request. Humphry subsequently produced two pastels of the couple, but after lengthy wrangling over the commission and payment for it, they were returned to the artist and are now lost, although the Prince’s portrait is recorded by an engraving.<a class=\"endnote-link\" href=\"#endnote_9\" name=\"endnote_back_9\">9</a>\n\nThis work was not particularly well-received when it was first exhibited in 1795. Critics complained that the annual Academy exhibition that year was, like that of previous years, too heavily dominated by ‘portraits of insignificant individuals, about whom the world knew little, and cared less’.<a class=\"endnote-link\" href=\"#endnote_10\" name=\"endnote_back_10\">10</a> The single published comment directed at this work in particular opined that it was ‘a very feeble production’.<a class=\"endnote-link\" href=\"#endnote_11\" name=\"endnote_back_11\">11</a> It appears that the work was not commissioned or sold, as it passed from the artist to Upcott, with whom it remained until his death in 1845. It was presumably on show at what a contemporary recalled as ‘his confined rooms in his antiquated residence at Islington’ where ‘every inch of wall was covered with paintings, drawings, and prints, most of them by Gainsborough or Ozias Humphrey [sic]’.<a class=\"endnote-link\" href=\"#endnote_12\" name=\"endnote_back_12\">12</a> It appeared in the large sale in London in 1846 of Humphry’s works belonging to Upcott, now identified as ‘Portrait of the Artist’s Black Servant, in Crayons, framed, plate glass’. It was bought for £2.10 by the London bookseller Thomas Rodd (1796–1849) who purchased several other works of art and manuscripts at the same sale.<a class=\"endnote-link\" href=\"#endnote_13\" name=\"endnote_back_13\">13</a> It may have passed to his sons, Thomas Rodd (1796–1849) and Horatio Rodd (active 1798–1858). The latter was a picture dealer and print seller in London. The work was not included in the sales of Horatio Rodd’s art collection in 1849 and 1854.<a class=\"endnote-link\" href=\"#endnote_14\" name=\"endnote_back_14\">14</a> It is next recorded in the possession of the prominent art collector and Liberal politician Sir William Cuthbert Quilter, 1st Baronet (1841–1911) by 1909.<a class=\"endnote-link\" href=\"#endnote_15\" name=\"endnote_back_15\">15</a> It was included in the sale of his London collection, previously housed at his home and gallery at South Audley Street, at Christie’s, London in 1909, when it was bought by Gooden and Fox for thirty-four guineas.<a class=\"endnote-link\" href=\"#endnote_16\" name=\"endnote_back_16\">16</a> It was subsequently sold by Gooden and Fox to a private collection in Dorset where it remained by descent.\nRuth Kenny August 2013\n\nNotes\n\n<div class=\"endnotes\">\n<div>\n<a class=\"endnote-number\" href=\"#endnote_back_1\" name=\"endnote_1\">1</a> The Bee, 13 July 1791, quoted in the definition of a running footman offered by the Oxford English Dictionary.\n</div>\n<div>\n<a class=\"endnote-number\" href=\"#endnote_back_2\" name=\"endnote_2\">2</a> On black servants in eighteenth-century portraiture see Beth Fowkes Tobin, Picturing Imperial Power: Colonial Subjects in Eighteenth-Century British Painting, Durham and London 1999, pp.27–55; Giles Waterfield, ‘Black Servants’ in Giles Waterfield and Anne French with Matthew Craske, Below Stairs: 400 Years of Servants’ Portraits, exhibition catalogue, National Portrait Gallery, London 2004, pp.139–51; David Bindman and Helen Weston, ‘Court and City: Fantasies of Domination’, in David Bindman and Henry Louis Gates, Jr (eds.), The Image of the Black in Western Art: From the ‘Age of Discovery’ to the Age of Abolition, Cambridge, Massachusetts and London 2011, pp.125–70.\n</div>\n<div>\n<a class=\"endnote-number\" href=\"#endnote_back_3\" name=\"endnote_3\">3</a> For which see Waterfield, French and Craske 2004.\n</div>\n<div>\n<a class=\"endnote-number\" href=\"#endnote_back_4\" name=\"endnote_4\">4</a> Neil Jeffares, ‘Humphry, Ozias’, Dictionary of Pastellists before 1800, London 2006, p.257 (as ‘Baron Nagell’s black’); also Neil Jaffares, ‘Humphry, Ozias’, Pastels & Pastellists, 2008, reproduced (as ‘Baron Nagell’s black’), <a href=\"http://www.pastellists.com/Articles/Humphry.pdf?zoom_highlight=humphry%22 \\l %22search=\\%E2%80%9Dhumphry\\%E2%80%9D\">http://www.pastellists.com/Articles/Humphry.pdf?zoom_highlight=humphry#search=”humphry”</a>, accessed 21 August 2013. Thanks go to Neil Jeffares for his very considerable assistance in cataloguing this work. For the Quilter collection see Sir Cuthbert Quilter’s Pictures, London Collection, undated (?1909), no.8. The work is also illustrated in a photograph on file in the Witt Library, Courtauld Institute of Art, London, of uncertain date and origin. \n</div>\n<div>\n<a class=\"endnote-number\" href=\"#endnote_back_5\" name=\"endnote_5\">5</a> Aileen Ribeiro, email correspondence with the author, 2013.\n</div>\n<div>\n<a class=\"endnote-number\" href=\"#endnote_back_6\" name=\"endnote_6\">6</a> ‘Catalogue of the Art Collection of Ozias Humphry’, c.1805, Upcott Papers, British Library, London, Add MS 49682. f.20. \n</div>\n<div>\n<a class=\"endnote-number\" href=\"#endnote_back_7\" name=\"endnote_7\">7</a> Thanks go to Harm Stevens, Paul Knolle and Duncan Bell at the Rijksmuseum, Amsterdam for their kind assistance. \n</div>\n<div>\n<a class=\"endnote-number\" href=\"#endnote_back_8\" name=\"endnote_8\">8</a> Abigail Adams, letter to John Adams, 7 March 1788, in Margaret A. Hogan (ed.), The Adams Papers: Adams Family Correspondence, vol.8, Cambridge, Massachusetts 2007, p.242.\n</div>\n<div>\n<a class=\"endnote-number\" href=\"#endnote_back_9\" name=\"endnote_9\">9</a> See G.C. Williamson, Life and Works of Ozias Humphry, London 1918, pp.167–9.\n</div>\n<div>\n<a class=\"endnote-number\" href=\"#endnote_back_10\" name=\"endnote_10\">10</a> Morning Chronicle, 6 May 1795. \n</div>\n<div>\n<a class=\"endnote-number\" href=\"#endnote_back_11\" name=\"endnote_11\">11</a> St James’s Chronicle, 14–16 May 1795.\n</div>\n<div>\n<a class=\"endnote-number\" href=\"#endnote_back_12\" name=\"endnote_12\">12</a> ‘AB’ [Dawson Turner], letter to the editor, dated 3 April 1846, Gentleman’s Magazine, no.25, January–June 1846, p.473, cited (with the attribution to Dawson Turner) in Janet Ing Freeman, ‘Upcott, William (1779–1845)’, Oxford Dictionary of National Biography, Oxford 2004, <a href=\"http://www.oxforddnb.com/view/article/28005\">http://www.oxforddnb.com/view/article/28005</a>, accessed 21 August 2013.\n</div>\n<div>\n<a class=\"endnote-number\" href=\"#endnote_back_13\" name=\"endnote_13\">13</a> Catalogue of the Collection of Prints, Pictures, and Curiosities of the Late William Upcott, Esq., Messrs Evans, 25 June 1846, no.448, annotated copy at the National Art Library, NAL 23.L. Works by Humphry from Upcott’s collection were offered by his executors to the National Gallery, but were declined. See National Gallery Archive, NG6/1/430.\n</div>\n<div>\n<a class=\"endnote-number\" href=\"#endnote_back_14\" name=\"endnote_14\">14</a> The sale at Robinson, London, 19–20 July 1849, included ‘Two Heads from the Cartoons [Raphael’s] in Crayons by Ozias Humphrey’ (lot 73). The sale at Puttick and Simpson, London, 19 May 1854, included ‘Paintings’ and ‘Historical Portraits’. \n</div>\n<div>\n<a class=\"endnote-number\" href=\"#endnote_back_15\" name=\"endnote_15\">15</a> Although Quilter’s father, the accountant William Quilter (1808–1888) was also a prominent collector of British art it appears from a contemporary commentary that the work was acquired by Sir William, rather than inherited, although at what date is now known. William Roberts distinguished between William Quilter’s collecting and the ‘totally different’ collecting habits of his son, demonstrated by the works from his collection then on display at Christie’s prior to the sale, and including the present work (see William Roberts, ‘Sir Cuthbert Quilter’s London Collection’, Connoisseur, vol.24, 1909, p.165). The significance, if any, of the fact that this and another pastel by Humphry were among only a small handful of works included in the published catalogue of Quilter’s collection, which does note state the date of its purchase by Sir Cuthbert, has not been established. See Sir Cuthbert Quilter’s Pictures (?1909). The work was not mentioned in F.G. Stephens’s articles on the Quilter collection published in 1896–7, although these were not comprehensive accounts. See F.G. Stephens, ‘The Collection of Mr W. Cuthbert Quilter, MP’, Cassell’s Magazine of Art, vol.20, 1896, pp.121–8; vol.21, 1897, pp.316–20.\n</div>\n<div>\n<a class=\"endnote-number\" href=\"#endnote_back_16\" name=\"endnote_16\">16</a> Christie’s, London, 9 July 1909, lot 88 (as ‘African Prince’). Details of provenance after this sale are from Hazlitt, Gooden and Fox (correspondence with the author, 2013).\n</div>\n</div>\n</div>\n", "display_name": "Catalogue entry", "publication_date": "2015-04-14T00:00:00", "slug_name": "catalogue-entry", "type": "CATALOGUE_ENTRY" } ]

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Sol Goldman and Alex DiLorenzo Manhattan Real Estate Holdings a RealTime Social System as May 1 1971

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Many of Haacke’s works reveal hidden political and economic links between corporations and institutions. He wanted to show how corruption and injustices were rooted in larger social systems. This work includes a map of Manhattan. It features the locations of properties owned by a powerful real estate firm that had been involved in violent crimes and unethical practices. Haacke wanted to expose the true extent of the firm’s power in the New York property market and the fraud and exploitation at its core. Haacke was included in the groundbreaking Systems Art exhibition organised by the CAyC in Buenos Aires in 1971.Gallery label, December 2020

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Sol Goldman and Alex DiLorenzo Manhattan Real Estate Holdings, a Real-Time Social System, as of May 1, 1971

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThis work comprises a map of Manhattan showing the locations of properties owned by the real estate partnership Sol Goldman &amp; Alex DiLorenzo as of 1 May 1971, photographs of the facades of these buildings, documentation of the properties and a list of the nineteen corporations operating them. These elements are displayed in framed sections.\nAt the time this work was made Goldman &amp; DiLorenzo’s real estate holdings extended throughout the United States. In the New York City borough of Manhattan alone their property portfolio was the largest of any non-institutional body, with a market value of almost $667 million. Properties owned by the partnership included high-end buildings in the Wall Street area and prime residential areas. In addition they included many run-down tenements and warehouses, and buildings in the Times Square area, at the time a sleazy red-light district.\nGoldman &amp; DiLorenzo had a negative reputation as landlords. They had been accused of hiring flunkies to physically harass tenants, and enlisted a firm related to an infamous mafia family to help quash a strike by building employees at the Chrysler Building. In addition they had been charged with tax delinquencies and serious violations of building codes that in at least one case resulted in fatalities.\nHaacke researched and executed this project alongside a parallel work, Shapolsky et al. Manhattan Real Estate Holdings, a Real-Time Social System, as of May 1, 1971 (collections of Centre Georges Pompidou, Paris and Whitney Museum of American Art, New York) that explored the holdings of another major real estate group with similarly heavy-handed working practices. These two projects presented data compiled from public records at the New York County Clerk’s Office. With them Haacke sought to visualise the extent of the corporations’ dominance of the New York property market and to expose the networks of influence in which they played a part.\nThese two works gained artworld notoriety when, in 1971, they were cited as the reason for the last minute cancellation of Haacke’s first major international solo show at the Solomon R. Guggenheim Museum. The Museum’s director, Thomas M. Messer, objected to the inclusion of these works as well as a visitor’s poll which Haacke had proposed for the exhibition. Messer opposed their ‘inappropriate’ content, stating he felt it was his duty to deflect ‘an alien substance that had entered the art museum organisation’ (quoted in ‘Obra Social’, p.72). When the artist refused to withdraw the works, Messer cancelled the show six weeks before it was due to open. The exhibition curator, Edward F. Fry, was fired when he defended Haacke’s position. In response to this blatant act of censorship artists staged a protest in the museum and many pledged not to exhibit at the Guggenheim until their policies changed.\nThe work in Tate’s Collection is the second in an edition of two; the first in the edition is in the collection of artist Sol LeWitt.\n\nFurther reading:\n Brian Wallis (ed.), Hans Haacke: Unfinished Business, New York 1986, reproduced pp.89, 90, 91 (details). \n‘Obra Social’: Hans Haacke, exhibition catalogue, Fundació Antoni Tàpies, Barcelona 1995. Walter Grasskamp, Molly Nesbit and Jon Bird, Hans Haacke, London 2004.\nRachel Taylor September 2008\n</div>\n", "display_name": "Summary", "publication_date": "2012-08-15T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nMany of Haacke’s works reveal hidden political and economic links between corporations and institutions. He wanted to show how corruption and injustices were rooted in larger social systems. This work includes a map of Manhattan. It features the locations of properties owned by a powerful real estate firm that had been involved in violent crimes and unethical practices. Haacke wanted to expose the true extent of the firm’s power in the New York property market and the fraud and exploitation at its core. Haacke was included in the groundbreaking Systems Art exhibition organised by the CAyC in Buenos Aires in 1971.\n</div>\n", "display_name": "Display caption", "publication_date": "2020-12-04T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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Photograph Photograph

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Purchased with assistance from the American Patrons of Tate, courtesy of an anonymous donor 2012

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Welcome to Birdhead World Again

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Birdhead (Ji Weiyu, born 1980; Song Tao, born 1979)

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https://media.tate.org.u…13/T13800_10.jpg

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paper unique 6 photographs cellulose prints

[]

Welcome to Birdhead World Again

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Tate

2011

CLEARED

5

support, each: 1100 × 930 mm

accessioned work

Tate

Purchased with funds provided by the Asia-Pacific Acquisitions Committee 2013

[]

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artwork

2 works on paper, acrylic paint and screenprint; 1 work on board, pigment on cardboard stencil; and acrylic paint on wall

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118,358

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<a href="https://www.tate.org.uk/art/artists/blinky-palermo-2317" aria-label="More by Blinky Palermo (Peter Heisterkamp)" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Blinky Palermo (Peter Heisterkamp)</a>

Blaues Dreieck

2,013

[]

Purchased with assistance from Tate Members and Tate Patrons 2012

T13802

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

7012329 7017167 7003685 7000084 7000331 1000004

Blinky Palermo (Peter Heisterkamp)

1,969

[]

Rather than painting geometric shapes onto a white canvas, Palermo began to paint them onto the white wall of the gallery. The relation between foreground and background in a conventional painting is transmuted into a more direct relationship between the shape and the surrounding environment. Placed above the doorway, the triangle can be seen as a decorative feature, but also as a way to redirect our gaze around the architectural space.Gallery label, October 2016

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1

https://media.tate.org.u…13/T13802_10.jpg

2317

installation 2 works paper acrylic paint screenprint 1 work board pigment cardboard stencil wall

[]

Blaues Dreieck

1,969

Tate

1969

CLEARED

3

support: 485 × 540 mm

accessioned work

Tate

Purchased with assistance from <a href="/search?gid=999999973" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Tate Members</a> and <a href="/search?gid=999999780" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Tate Patrons</a> 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nBlaues Dreieck by the German artist Blinky Palermo is a stencil used to create a blue triangular form. The stencil is editioned published by René Black in 1969. The triangle should be installed over a door at its centre point. Here it can be read as a decorative ornament, but it can also seem to charge the room and its entrance or exit, particularly because of the intense blue colour, associated with heavenly transcendence, and the apex of the triangle that appears to point upwards beyond the realms of architecture. This effect is, in turn, undermined by the work’s impermanence – the fact that it is painted on the wall and it must be painted over to be removed, as well as its status as an edition rather than a single object.\nPalermo made several works using isosceles triangles, starting with Tagtraum I 1965 and culminating in Blaues Dreieck, which was installed at the Palais des Beaux-Arts in Brussels in 1970, where blue triangles were painted onto the walls and evenly spaced. In his essay ‘The Palermo Triangles’ art historian Benjamin H. D. Buchloh has related the shapes to the triangular forms in pre-war utopian constructivist abstraction and to Joseph Beuys’s Fat Corner of 1963 (see Buchloh, ‘The Palermo Triangles’, in Los Angeles County Museum of Art 2010). Buchloh has also emphasised the importance of the work Yves Klein to Palermo in the latter’s use of ultramarine.\nPalermo is one of the most important artists to have emerged in Germany in the 1960s. A student of Beuys in the Kunstakademie Düsseldorf, Palermo was a friend of Gerhard Richter, Imi Knoebel and Sigmar Polke. He was particularly fascinated by New York abstraction and spent time in the city in the mid-1970s before returning to Düsseldorf to paint his magnus opus, To the People of New York City 1976 (Dia Art Foundation, New York). His work has gained more and more attention since his death in 1977 and retrospectives in Düsseldorf and in Los Angeles have cemented his reputation as one of the key figures in art of the post-war period.\nPalermo’s work is often divided into four categories: cloth pictures, wall paintings and drawings, objects, and metal paintings. The wall paintings and drawings were conceived as temporary interventions and were made in response to the particularities of the architecture of each setting, such that they are no longer extant. Like his contemporaries, Palermo devoted a lot of attention and care to editions. Many were published by his galleries, such as René Block and Heiner Friedrich, and others were made on the occasion of exhibitions at venues across Germany, such as the Stadtisches Museum Mönchengladbach, and the Kabinett fur aktuelle Kunst in Bremerhaven, or for the friends of museums including the Düsseldorfer Kunstverein.\n\nFurther reading\n Susanne Küper (ed.), Palermo, exhibition catalogue, Kunsthalle Düsseldorf and Kunstverein Düsseldorf, Düsseldorf 2007. Christine Mehring, Blinky Palermo: Abstraction of an Era, New Haven and London 2008. Lynne Cooke (ed.), Blinky Palermo: Retrospective 1964–1977, exhibition catalogue, Los Angeles County Museum of Art, Los Angeles 2010.\nMark Godfrey January 2012\n</div>\n", "display_name": "Summary", "publication_date": "2016-06-21T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nRather than painting geometric shapes onto a white canvas, Palermo began to paint them onto the white wall of the gallery. The relation between foreground and background in a conventional painting is transmuted into a more direct relationship between the shape and the surrounding environment. Placed above the doorway, the triangle can be seen as a decorative feature, but also as a way to redirect our gaze around the architectural space.\n</div>\n", "display_name": "Display caption", "publication_date": "2016-10-12T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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artwork

Oil paint on canvas

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118,360

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<a href="https://www.tate.org.uk/art/artists/jack-whitten-17412" aria-label="More by Jack Whitten" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Jack Whitten</a>

Epsilon Group II

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Purchased using funds provided by the 2012 Outset / Frieze Art Fair Fund to benefit the Tate Collection 2013

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Jack Whitten

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Whitten wanted to create new type of abstract art. Many abstract artists focused on mark making. Whitten explored the use of a single action to fill the canvas. To do this, he removed colour from his work: ‘Red, yellow, blue etc. with their heavy historical and psychological references had become unwanted baggage. I trusted only black and white.’ To avoid relying on paint brush marks, Whitten created new techniques and tools. The horizontal lines in this work were made with a large, specially designed Afro comb, pulled once across the canvas.Gallery label, August 2020

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17412

painting oil paint canvas

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Epsilon Group II

1,977

Tate

1977

CLEARED

6

unconfirmed: 1613 × 1613 mm

accessioned work

Tate

Purchased using funds provided by the 2012 <a href="/search?gid=999999778" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Outset / Frieze Art Fair Fund to benefit the Tate Collection</a> 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nEpsilon Series II 1977 is a painting on canvas made from graphite, silica and aluminium powder suspended in AC-33 acrylic medium by Jack Whitten. The medium is transparent and applied over a ground of titanium which creates a high density optical glow. The composition is formed from horizontal, vibrating stripes that appear as grooves in the acrylic medium, a large white circle in the centre of the canvas, and a white diagonal line that begins in the top left corner and extends to the bottom right corner, dividing the canvas into two equal triangles and bisecting the circle. Thus the painting is organised according to Euclidean geometry, taking it away from the gestural abstraction that had characterised Whitten’s earlier style of painting. However, the composition is complicated by the introduction of unequal and apparently random diagonal interruptions that run from upper right to lower left and were most likely formed by placing string beneath the canvas.\nWhitten, who was seeking new ways to make abstract painting at the time, also began to improvise new tools to assist in the process, with a particular desire to change the form of the mark away from abstract expressionist painterly gesture and extend it to a single, horizontal action that encompassed the entire picture plane. Historian Kellie Jones has commented: ‘what distinguishes Whitten from his peers … was his invention of processes and tools for painting. In 1970 he made a decision to let go of the brush and remove the marks of the hand from the canvas. He created … a variety of objects with which to manipulate or intercede in the liquid surface’ (Jones 2011, p.374). Whitten named the new tools ‘processors’ or ‘developers’, in part in reference to photo-processing; a measure of the way he was attempting to re-conceive the conceptual basis of his painting. He has described the process of making his works at this time as ‘taking my cue from Ad Reinhardt’s suggestion of a nonrelational painting’ (Jack Whitten, ‘Artist’s Statement’, in Segal 2006, p.101). In an unpublished artist’s statement he provided further detail:\n\n<blockquote>From 1970 until 1980, I worked on a large 14 foot by 20 foot drawing board built on top of the studio floor. It was constructed with a honeycomb grid of 2 x 4’s at 16 inch centers, a layer of 3/4 inch construction grade plywood topped with a layer of industrial linoleum for easy cleaning. The drawing board was built absolutely flat and level to prevent any haphazard flow of paint. I wanted to be in control of the flow. My ‘developer’ which started in 1970 as an Afro comb had morphed into a huge 12 foot Afro comb! I built it from 16 gauge galvanized sheet metal with 1/8 inch notches cut into the metal. The lines were drawn in a single three second pull of the developer across the canvas. The whole picture plane was conceived as a line. (Jack Whitten, unpublished artist’s statement.)</blockquote>\nThe experimental use of unconventional pigments was also a characteristic of Whitten’s work at this time. Curator Stuart Horodner has written how in acrylic paint Whitten had ‘found a hospitable host for the incorporation of dyes, powders, and various organic and inorganic materials’ (Horodner in Zeno X Gallery 2011, p.13). Whitten’s work is thus constituted by a process-based and conceptual abstract painting that tests the materials as well as the nature of painting itself.\nThis painting is one of Whitten’s Greek Alphabet series, in which he made a painting for each letter in the alphabet, although in the case of some letters there is more than one painting. At the time of making these works, Whitten was studying modern spoken Greek at the New York School in New York City. He stated that ‘the Greek alphabet freed me from the emotional hassle of titling each painting’ (Whitten, unpublished artist’s statement). This factor also informed his choice of monochrome white for the painting. He has explained that he was ‘desperately trying to distance myself from Abstract Expressionism’, thus ‘spectrum color was forbidden in the studio. Red, yellow, blue etc. with their heavy historical and psychological references had become unwanted baggage. I trusted only black and white’ (Whitten, unpublished artist’s statement).\nBehind this statement is the fact that Whitten formed part of a group of black painters who in the late 1960s and 1970s moved away from explicit political subject matter and expressions of identity towards a concentration on abstraction as their primary concern. One series made in the 1960s that had preceded the Greek Alphabet works was a group of abstract expressionist paintings inspired by Willem de Kooning’s Woman series of the 1950s. Named the Martin Luther King series, Whitten’s paintings dealt with the Civil Rights Movement, four of them being individually dedicated to Martin Luther King, John F. Kennedy, Robert F. Kennedy and Malcolm X. In New York’s Cedar Bar, Whitten had met and conversed with many artists including de Kooning and Franz Kline, who, he says, ‘put up with my youthful enquiries into the nature of abstract painting’ (Whitten in Segal 2006, p.101). However, it was not long before Whitten realised that he had to shake off the influence of these figures, as well as overt political content, to find a method of painting that would satisfy his aim to create a new form of abstraction.\nIn 1960 Whitten had moved to New York to attend the Cooper Union, where he later became a professor. On his arrival in New York, he became part of an interdisciplinary artistic context centred on the Lower East Side from where he established a dialogue with abstract expressionist artists including de Kooning and Kline as well as an older generation of black artists such as Romare Bearden, Jacob Lawrence and Norman Lewis. He later became part of a scene of black artists who, from the late 1960s, gave priority to abstraction over overtly political content, including Ed Clark, Al Loving, Howardena Pindell, Joe Overstreet, Frank Bowling, William T. Williams and Sam Gilliam.\nWhitten had not denied the political dimension of his work, but has emphasised that it is a latent rather than an explicit presence. For the works of the 1970s, a parallel can be drawn with contemporary music of the time, both having an underlying cultural value rooted in an African-American context, where the abstract sheets of paint drawn across Whitten’s canvases are comparable to the ‘sheets of sound’ of jazz music. The artist has said:\n\n<blockquote>I had a conversation with John Coltrane, in 1965, at the Club Coronet in Brooklyn … Coltrane told me how he equated his sound to sheets: the sound you hear in his music comes at you in waves … I think that, in plastic terms, translating from sound, I was sensing sheets, waves of light. A sheet of light passing, that’s how I was seeing light. That’s why I refer to these paintings as energy fields. (Quoted in Jones 2011, p.373.)</blockquote>\nThus, after the Martin Luther King series in the late 1960s and just prior to the Greek Alphabet series in the mid- to late 1970s, Whitten made a series of works in the early 1970s in which a number of bright coloured hues were roughly mixed and dragged across the canvas in a single gesture. These works were the transition from his early abstract expressionism to the conceptual abstraction of the Greek Alphabet series where he more fully realised the break with abstract expressionism and manifested the sheets of light he envisaged when reflecting on the jazz of Coltrane. To follow this analogy, the seemingly arbitrary diagonal ‘interruptions’ across the canvas of Epsilon Series II might be likened to the improvisations that characterise ‘bebop’ and ‘free jazz’.\n\nFurther reading\n Katy Segal (ed.), High Times, Hard Times: New York Painting 1967–1975, New York 2006. Kellie Jones, ‘To The Max: Energy and Experiment’, in Eye Minded: Living and Writing Contemporary Art, Durham, North Carolina 2011, pp.363–96. Stuart Horodner, Jack Whitten, exhibition catalogue, Zeno X Gallery, Antwerp 2011.\nTanya Barson October 2012\n</div>\n", "display_name": "Summary", "publication_date": "2016-06-14T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nWhitten wanted to create new type of abstract art. Many abstract artists focused on mark making. Whitten explored the use of a single action to fill the canvas. To do this, he removed colour from his work: ‘Red, yellow, blue etc. with their heavy historical and psychological references had become unwanted baggage. I trusted only black and white.’ To avoid relying on paint brush marks, Whitten created new techniques and tools. The horizontal lines in this work were made with a large, specially designed Afro comb, pulled once across the canvas.\n</div>\n", "display_name": "Display caption", "publication_date": "2020-08-21T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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artwork

Paint on plywood with mirror

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Ohne Titel

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[]

Purchased with assistance from Tate Members and Tate Patrons 2012

T13806

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

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Blinky Palermo (Peter Heisterkamp)

1,973

[ { "archiveItemCount": 1, "id": 184, "level": 1, "name": "abstraction", "parent_id": 1, "workCount": 8614 }, { "archiveItemCount": 214, "id": 226, "level": 3, "name": "geometric", "parent_id": 185, "workCount": 2858 }, { "archiveItemCount": 0, "id": 9663, "level": 3, "name": "monochromatic", "parent_id": 185, "workCount": 722 }, { "archiveItemCount": 1, "id": 185, "level": 2, "name": "non-representational", "parent_id": 184, "workCount": 6160 } ]

false

1

https://media.tate.org.u…13/T13806_10.jpg

2317

installation paint plywood mirror

[ { "artistRoomsTour": false, "dateText": "9 July 2018 – 12 July 2020", "endDate": "2020-07-12", "exhibitionLegs": [ { "dateText": "9 July 2018 – 12 July 2020", "endDate": "2020-07-12", "id": 12616, "startDate": "2018-07-09", "venueName": "Tate Liverpool (Liverpool, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/liverpool/" } ], "id": 10034, "startDate": "2018-07-09", "title": "Op Art in Focus", "type": "Collection based display" } ]

Ohne Titel

1,973

Tate

1973

CLEARED

3

object: 319 × 215 × 30 mm

accessioned work

Tate

Purchased with assistance from <a href="/search?gid=999999973" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Tate Members</a> and <a href="/search?gid=999999780" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Tate Patrons</a> 2012

[]

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

null

false

226 9663 185

false

artwork

Plywood and 4 lithographs on paper

[ { "append_role_to_name": false, "date": "1943–1977", "fc": "Blinky Palermo (Peter Heisterkamp)", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/blinky-palermo-2317" } ]

118,365

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1,975

<a href="https://www.tate.org.uk/art/artists/blinky-palermo-2317" aria-label="More by Blinky Palermo (Peter Heisterkamp)" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Blinky Palermo (Peter Heisterkamp)</a>

Happier than morning sun to Stevie Wonder

2,013

[]

Purchased with assistance from Tate Members and Tate Patrons 2012

T13807

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

7012329 7017167 7003685 7000084 7000331 1000004

Blinky Palermo (Peter Heisterkamp)

1,975

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false

1

https://media.tate.org.u…13/T13807_10.jpg

2317

installation plywood 4 lithographs paper

[]

Happier than the morning sun “to Stevie Wonder”

1,975

Tate

1975

CLEARED

3

displayed: 614 × 843 × 32 mm

accessioned work

Tate

Purchased with assistance from <a href="/search?gid=999999973" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Tate Members</a> and <a href="/search?gid=999999780" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Tate Patrons</a> 2012

[]

[ "abstraction", "diagrammatic", "emotions and human qualities", "emotions, concepts and ideas", "film, music and ballet", "formal qualities", "geometric", "gestural", "happiness", "literature and fiction", "music: Wonder, Stevie, ‘Happier than the Morning Sun’", "named individuals", "non-representational", "people", "Wonder, Stevie" ]

null

false

9329 31 10058 226 19508 940 185

false

artwork

Graphite, coloured graphite and acrylic paint on paper

[ { "append_role_to_name": false, "date": "born 1944", "fc": "Rebecca Horn", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/rebecca-horn-2269" } ]

118,366

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2,005

<a href="https://www.tate.org.uk/art/artists/rebecca-horn-2269" aria-label="More by Rebecca Horn" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Rebecca Horn</a>

Waiting Absence

2,013

[]

Presented anonymously 2012

T13808

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

436

1040338 1003127 7003678 7000084

Rebecca Horn

2,005

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false

1

https://media.tate.org.u…13/T13808_10.jpg

2269

paper unique graphite coloured acrylic paint

[ { "artistRoomsTour": false, "dateText": "1 April 2015 – 1 May 2016", "endDate": "2016-05-01", "exhibitionLegs": [ { "dateText": "1 April 2015 – 1 May 2016", "endDate": "2016-05-01", "id": 9746, "startDate": "2015-04-01", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 8014, "startDate": "2015-04-01", "title": "Rebecca Horn", "type": "Collection based display" } ]

Waiting for Absence

2,005

Tate

2005

CLEARED

5

unconfirmed: 1820 × 1500 mm

accessioned work

Tate

Presented anonymously 2012

[]

[ "abstraction", "colour", "figure", "from recognisable sources", "gestural", "non-representational" ]

null

false

225 221 189 227 185

false

artwork

Graphite, coloured graphite and acrylic paint on paper

[ { "append_role_to_name": false, "date": "born 1944", "fc": "Rebecca Horn", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/rebecca-horn-2269" } ]

118,367

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

2,005

<a href="https://www.tate.org.uk/art/artists/rebecca-horn-2269" aria-label="More by Rebecca Horn" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Rebecca Horn</a>

House Pain

2,013

Haus der Schmerzen

[]

Purchased 2013

T13809

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

436

1040338 1003127 7003678 7000084

Rebecca Horn

2,005

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false

1

https://media.tate.org.u…13/T13809_10.jpg

2269

paper unique graphite coloured acrylic paint

[ { "artistRoomsTour": false, "dateText": "1 April 2015 – 1 May 2016", "endDate": "2016-05-01", "exhibitionLegs": [ { "dateText": "1 April 2015 – 1 May 2016", "endDate": "2016-05-01", "id": 9746, "startDate": "2015-04-01", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 8014, "startDate": "2015-04-01", "title": "Rebecca Horn", "type": "Collection based display" } ]

House of Pain

2,005

Tate

2005

CLEARED

5

unconfirmed: 1820 × 1500 mm

accessioned work

Tate

Purchased 2013

[]

[ "abstraction", "body", "emotions and human qualities", "emotions, concepts and ideas", "figure", "from recognisable sources", "gestural", "handprint", "non-representational", "people", "suffering" ]

null

false

93 31 221 189 227 11235 185 12977

false

artwork

Lacquered wood, portable keyboard keys, buckram, powder coated steel, cement, peacock feathers, wood, brass, leather, polyester resin and other materials

[ { "append_role_to_name": false, "date": "born 1969", "fc": "Steven Claydon", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/steven-claydon-9805" } ]

118,370

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

2,010

<a href="https://www.tate.org.uk/art/artists/steven-claydon-9805" aria-label="More by Steven Claydon" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Steven Claydon</a>

Joanna An Unsubstantial Fraction Substance Without Action

2,013

[]

Purchased 2013

T13810

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

7011781 7008136 7002445 7008591

Steven Claydon

2,010

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Joanna (An Unsubstantial Fraction) (Of Substance Without Action) 2010 is a sculpture by British artist Steven Claydon. It brings together a selection of different objects, displayed on two purpose-made powder-coated steel rectangular structures suggestive of a grand piano and music stool. The composition includes some found objects and some that have been specially fabricated by the artist. They include two portable keyboards, a cast mask – based on an image appropriated from the Yahoo email inbox logo – a small hat or coat stand, an Italian 1950s army dress helmet, a cast aluminium wine glass, bottle and selection of bricks, two buckram covered boxes, a lacquered yellow box, a small bell and a wooden block with peacock feathers and brass bolts. The work was included in British Art Show 7: In the Days of the Comet, which toured to a number of venues in the United Kingdom between 2010 and 2011.

false

1

https://media.tate.org.u…13/T13810_10.jpg

9805

installation lacquered wood portable keyboard keys buckram powder coated steel cement peacock feathers brass leather polyester resin other materials

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Joanna (An Unsubstantial Fraction) (Of Substance Without Action)

2,010

Tate

2010

CLEARED

3

Overall display dimensions variable

accessioned work

Tate

Purchased 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nJoanna (An Unsubstantial Fraction) (Of Substance Without Action) 2010 is a sculpture by British artist Steven Claydon. It brings together a selection of different objects, displayed on two purpose-made powder-coated steel rectangular structures suggestive of a grand piano and music stool. The composition includes some found objects and some that have been specially fabricated by the artist. They include two portable keyboards, a cast mask – based on an image appropriated from the Yahoo email inbox logo – a small hat or coat stand, an Italian 1950s army dress helmet, a cast aluminium wine glass, bottle and selection of bricks, two buckram covered boxes, a lacquered yellow box, a small bell and a wooden block with peacock feathers and brass bolts. The work was included in British Art Show 7: In the Days of the Comet, which toured to a number of venues in the United Kingdom between 2010 and 2011.\nThe artist has described the work in the following way:\n\n<blockquote>The title in part refers to a piano (Joanna in rhyming slang) and explores the collision between utility and metaphor in the artefact. For instance a Steinway in a museum, unplayable but a cultural heirloom. The notion of a cultural metaphor or emblem can extend to many things or concretions of things. I have embedded reference to Schulz’s ‘Peanuts’ cartoon strip. The helmet is Snoopy on his hut transfiguring it from kennel to aeroplane. The geometric crests with brass eyes are Woodstock and the whole array refers perhaps to Pig-Pen’s cloud of dirt and flies, the satellite issues orbiting a subject consigned to an object … All of the references are in some way autobiographical in that they are drawn from things I have experienced professionally or in passing throughout my life. Music, cartoons, museums … drinking. (Email correspondence with Tate curator Clarrie Wallis, May 2012.)</blockquote>\nThe piano, an instrument associated with a plethora of different types of music, from high cultural classical to the free rhythms of jazz and the local idiosyncrasies of folk, provides a motif for Claydon’s gathering together of diverse cultural forms. In Joanna (An Unsubstantial Fraction) (Of Substance Without Action) the sleek brushed steel, smooth helmet and mid-century design of the objects contrast with the artist’s ‘embedded references’ to cartoon characters Snoopy and Woodstock. The work is a combination of elements from high and low culture – here brought together without hierarchy. The artist acknowledges that this might be comparable to the messy surroundings of Pig-Pen, but it also registers the effect these juxtapositions can have on transforming the meanings and associations of the objects, just as Snoopy imagines his kennel as an aeroplane. In this way Claydon’s complex sculptural compositions interrogate the different ways in which we engage with the world and how different meanings and outlooks are the product of the multilayered networks and relationships between things.\nClaydon is interested in material culture, a phrase used by anthropologists and archaeologists to describe the physical products – from traditional craft skills to modern electronic equipment – of society. The term suggests that culture is itself something intangible, but which can take material form. Similarly, Claydon sees objects as being ‘culpable’, in the sense that they reveal something about our way of life. He is particularly interested in the passage of materials from base matter to artefacts with cultural resonance. His sculptures investigate the value of objects and what they reveal about society at large, also exploring the language of museum presentation, with particular reference to the nature of display of previously utilitarian, everyday objects as cultural heirlooms. As such works like Joanna (An Unsubstantial Fraction) (Of Substance Without Action) also addresses the museum’s role in collecting, classifying and displaying objects and the way in which such arrangements reinforce the systems and methodologies that have been devised to classify and interpret them and so bring a sort of order to the world. (‘Martin Clark in Conversation with Steven Claydon’, in firstsite 2012, p.96).\nClaydon’s work spans sculpture, print, painting, film and performance and adopts a variety of forms, fusing old and new, raw and man-made. He brings together diverse elements in such a way that each part appears to be of equal weight and importance. This lack of distinction or hierarchy is a key aspect of his approach. For example, portrait busts, pots and vessels are shown alongside cultural ephemera and geological samples, which mix different cultures and periods of time. Through these combinations, the artist creates new, hybrid objects, which explore ideas around physical and cultural transformation and offer a poetic and open-ended approach to interpretation. In this way Claydon deliberately resists the reading of history as a necessary linear progression. This lack of historical categorisation suggests a subversion of standard museological practice, where viewers are free to create their own associations and to trace different histories across time, not necessarily in a linear direction.\n\nFurther reading\n \nSteven Claydon: The Ancient Set, exhibition catalogue, International Project Space, Birmingham 2008. \nSteven Claydon: Culpable Earth, exhibition catalogue, firstsite, Colchester 2012.\nClarrie Wallis May 2012\n</div>\n", "display_name": "Summary", "publication_date": "2018-08-02T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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null

false

93 555 88 221 80 189 82 19665 615 868 3899 1861 84 222 2576 86 170

false

artwork

21 aluminium bricks

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118,373

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2,012

<a href="https://www.tate.org.uk/art/artists/steven-claydon-9805" aria-label="More by Steven Claydon" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Steven Claydon</a>

London Pixel Array 21

2,013

[]

Presented by Sadie Coles HQ 2012

T13811

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

7011781 7008136 7002445 7008591

Steven Claydon

2,012

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In London Pixel Array 21 2012 Claydon has cast eighteen standard London bricks in aluminium. These are stacked in four columns against the corner of a wall and stepped so that they decrease by one brick from a stack of six to a stack of three. Each object is inscribed with the words ‘LONDON BRICK’, reiterating the identity of the original mould and therefore highlighting that these are to be understood as sculptural simulacra, rather than real objects. The artist has explained:

false

1

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9805

sculpture 21 aluminium bricks

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London Pixel Array 21

2,012

Tate

2012

CLEARED

8

displayed: 550 × 830 × 65 mm

accessioned work

Tate

Presented by Sadie Coles HQ 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nIn London Pixel Array 21 2012 Claydon has cast eighteen standard London bricks in aluminium. These are stacked in four columns against the corner of a wall and stepped so that they decrease by one brick from a stack of six to a stack of three. Each object is inscribed with the words ‘LONDON BRICK’, reiterating the identity of the original mould and therefore highlighting that these are to be understood as sculptural simulacra, rather than real objects. The artist has explained:\n\n<blockquote>The material transfiguration from ceramic to metallic substrate mirrors the status of an object when absorbed into the custody of the museum, gallery or designated as a cultural heirloom … Aluminium has a peculiar history ranging from very high status material in the late nineteenth century to an ubiquitous, democratised substance in the present, unassociated with the venerable properties of bronze and marble more usually associated with art objects. (Email correspondence with Tate curator Clarrie Wallis, 1 May 2012.)</blockquote>\nThe visibility of the cast inscription and the form of the arrangement contrasts with ordinary bricks, which are usually overlapped to form a wall and organised so that their inscriptions do not show. The geometry of the sculpture relates to the work of minimalist sculptors like Richard Serra and particularly Carl Andre, who also made a sculpture using bricks (Equivalent VIII 1966, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/onslow-ford-determination-of-gender-t01539\" title=\"View the details of this artwork\">T01539</a>). Whereas Andre’s sculpture used real bricks and could be reorganised (although it is usually laid out as a grid on the floor), Claydon’s aluminium bricks are copies and as such suggest other associations, like the gold bar. Indeed, this reading foregrounds the relative value of aluminium as a material for fine art, and its current status as something ubiquitous, like ceramics. As such the work might also be seen in relation to different kinds of grids; particularly the Periodic Table, used by chemists to order elements such as aluminium. The arrangement of columns and rows also relates to Claydon’s interest in pixels, the building blocks of digital images that are mentioned in the work’s title. In this way London Pixel Array 21 plays with scale and the viewer’s relationship to space, as well as their relationship to the ‘real’ and virtual worlds.\nClaydon’s complex sculptural compositions interrogate the different ways in which we engage with the world and how different meanings and outlooks are the product of the multi-layered networks and relationships between things. Claydon is interested in material culture, a phrase used by anthropologists and archaeologists to describe the physical products – from traditional craft skills to modern electronic equipment – of society. The term suggests that culture is itself something intangible, but which can take material form. Similarly, Claydon sees objects as being ‘culpable’, in the sense that they reveal something about our way of life. He is particularly interested in the passage of materials from base matter to artefacts with cultural resonance. His sculptures investigate the value of objects and what they reveal about society at large, also exploring the language of museum presentation, with particular reference to the nature of display of previously utilitarian, everyday objects as cultural heirlooms (‘Martin Clark in Conversation with Steven Claydon’, in firstsite 2012, p.96).\nClaydon’s way of working is informed by the material properties of individual objects as well as by an interest in the linguistic play of visual meaning. His work spans sculpture, print, painting, film and performance and adopts a variety of forms, fusing old and new, raw and man-made. In bringing together different registers or systems of imagery and exploring sculptural conventions, his practice can also be seen as an investigation of language. Among the interweaving themes he explores is also an interest in what he describes as ‘the fluidity of meaning’ (Claydon in conversation with Tate curator Clarrie Wallis, March 2012). He is concerned with the life of objects, the values and meanings they acquire, and how these change over time.\n\nFurther reading\n \nSteven Claydon: The Ancient Set, exhibition catalogue, International Project Space, Birmingham 2008. \nSteven Claydon: Culpable Earth, exhibition catalogue, firstsite, Colchester 2012.\nClarrie Wallis May 2012\n</div>\n", "display_name": "Summary", "publication_date": "2018-08-03T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "abstraction", "brick", "emotions, concepts and ideas", "England", "formal qualities", "from recognisable sources", "geometric", "London - non-specific", "man-made", "materials", "non-representational", "objects", "places", "repetition", "UK countries and regions", "UK London" ]

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576 2803 189 226 1205 222 19732 185 9024 9301

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artwork

Oil paint on canvas

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118,375

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1,960

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12

2,013

[]

Purchased 2013

T13813

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425

7006278 7013463 1002356 7007568 7012149

Magda Cordell

1,960

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Cordell’s paintings of women drew much critical attention at a time when American abstract expressionism and action painting was being assessed alongside European tachisme and the art brut of Jean Dubuffet (1901–1985). Here Cordell’s figure appears as both earth mother and embryo shown in a state of change and renewal. Such a metaphor was common in the 1950s where the body was often depicted as fragile and at threat, both bodily and psychologically, yet Cordell was rare in having extended this idiom to encompass the female body.Gallery label, September 2016

false

1

https://media.tate.org.u…13/T13813_10.jpg

2392

painting oil paint canvas

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No. 12

1,960

Tate

1960

CLEARED

6

support: 1522 × 1017 mm frame: 1559 × 1052 × 38 mm

accessioned work

Tate

Purchased 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nNo. 12 1960 is a large, predominantly red painting with an oval shape in the middle by the Hungarian-British artist Magda Cordell. Cordell left the round womb-like shape unpainted so that the white gesso primed surface of the canvas shows through behind the abstract figure at its centre. The figure, possibly representing a woman, is schematically painted in oranges and reds. Around her are pools of white and yellow resin and areas of what appears to be airbrushed magenta paint. The paint surface around the figure is pitted and scarred. The title reflects the manner in which Cordell approached works of this period as groups or series of works.\nThe colours of the canvas, as well as its organic forms, evoke the body. The figure in No. 12 is both earth mother and embryo, potentially both the source of reproduction and its product. Encased in the round shape, with organs and body parts dissembled, the body is shown to be in a state of change and renewal. Such a metaphor was common in the 1950s when it was often depicted as fragile and threatening, both physically and psychologically. Yet Cordell was unusual in extending this brutalist and existentially inflected idiom to encompass the female body. The historian David Mellor has indicated that what he found exceptional about Cordell’s paintings ‘lies in their aspect of female signs; that is, they act as signs for an internal – and crucially – maternal body, unrepresented elsewhere in British art of this moment.’ (David Mellor, ‘A “Glorious Techniculture” in Nineteen-Fifties Britain: The Many Cultural Contexts of the Independent Group’, in The Independent Group: Postwar Britain and the Aesthetics of Plenty, exhibition catalogue, Institute of Contemporary Arts, London 1990, p.235.)\nAt a period in which American abstract expressionism and action painting was being assessed alongside European tachisme and the art brut of Jean Dubuffet (typified by the Opposing Forces exhibition at the Institute of Contemporary Arts (ICA), London in 1953 organised by the critic Michel Tapié), Cordell’s paintings of women, first exhibited in 1955 at the ICA and the following year at the Hanover Gallery, London, drew much critical attention. For the critic Reyner Banham, writing in 1955, they exemplified the ‘New Brutalism’, along with the work of Alberto Burri, Nigel Henderson, Eduardo Paolozzi, Jackson Pollock and the architecture of Alison and Peter Smithson (Reyner Banham, ‘The New Brutalism’, Architectural Review, December 1955, pp.154–63). Fellow critic and curator Lawrence Alloway described Cordell’s figures as ‘androids with a patina of pathos’, composing a word list that for him was suggestive of Cordell’s paintings: ‘solar, delta, galactic, amorphous, ulterior, fused, far out, viscous, skinned, visceral, variable, flux, nebular, iridescence, hyper space, free fall’ (Lawrence Alloway, ‘Foreword’, in Hanover Gallery 1956, unpaginated).\nThe predominantly science fiction analogies that Alloway made apply more to slightly later paintings like No. 12, than they do to paintings of the mid-1950s that are much closer to the language of Dubuffet. The colouring of No. 12, and the poolings and layering of resin and glazes, chime closely with the words in Alloway’s list that evoke a human fragility (‘skinned’ and ‘visceral’) as much as a ‘galactic’ ‘iridescence’. While contemporary painters like Dubuffet and Francis Bacon, Henderson and Paolozzi produced images of bodies under threat, wounded survivors of cataclysm, Cordell’s No. 12 is an image of a future body under renewal, not just surviving but triumphing over injury. In an interview at the time she painted No. 12, Cordell explained how:\n\n<blockquote>When your car breaks and you take it to a garage they have to replace the whole of the defective part. But they can cut away huge pieces of your internal organs and you will grow them again or compensate for their loss. And also, all the time that your body is renewing itself, so in your lifetime you are remade countless times. This to me is an incredible thing. (Magda Cordell, interview with Peter Rawstorne, News Chronicle, 1 July 1960, cited in Institute of Contemporary Arts 1990, p.65.)</blockquote>\n\nNo. 12 was exhibited in Magda Cordell: John McHale at the ICA in 1962 (cat. no.4).\n\nFurther reading\n \nMagda Cordell Paintings, exhibition catalogue, Hanover Gallery, London 1956. \nMagda Cordell: John McHale, exhibition catalogue, Institute of Contemporary Arts, London 1962, cat. no.4. \nTransition: The London Art Scene in the Fifties, exhibition catalogue, Barbican Art Gallery, London 2002.\nAndrew Wilson December 2012\n</div>\n", "display_name": "Summary", "publication_date": "2018-06-20T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nCordell’s paintings of women drew much critical attention at a time when American abstract expressionism and action painting was being assessed alongside European tachisme and the art brut of Jean Dubuffet (1901–1985). Here Cordell’s figure appears as both earth mother and embryo shown in a state of change and renewal. Such a metaphor was common in the 1950s where the body was often depicted as fragile and at threat, both bodily and psychologically, yet Cordell was rare in having extended this idiom to encompass the female body.\n</div>\n", "display_name": "Display caption", "publication_date": "2016-09-06T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "abstraction", "adults", "body", "emotions, concepts and ideas", "figure", "formal qualities", "from recognisable sources", "gender", "gestural", "irregular forms", "non-representational", "organic", "people", "social comment", "society", "viscera", "woman", "womb" ]

null

false

93 221 189 863 19508 796 185 224 158 3965 167 3889

false

artwork

294 postcards and filing cabinet

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118,376

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1,970

<a href="https://www.tate.org.uk/art/artists/ed-herring-1279" aria-label="More by Ed Herring" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Ed Herring</a>

Proposition

2,013

[]

Purchased 2012

T13814

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

421

7008154 7002445 7008591 7002963 7002889 1000070

Ed Herring

1,970

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Proposition 1970 is a conceptual work by the British artist Ed Herring. It consists of a small metal filing cabinet containing 294 white postcards. The work originally had a participatory aspect to it, the instructions for which were complex:

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1

https://media.tate.org.u…13/T13814_10.jpg

1279

sculpture 294 postcards filing cabinet

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Proposition

1,970

Tate

1970

CLEARED

8

Overall display dimensions variable

accessioned work

Tate

Purchased 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nProposition 1970 is a conceptual work by the British artist Ed Herring. It consists of a small metal filing cabinet containing 294 white postcards. The work originally had a participatory aspect to it, the instructions for which were complex: \n\n<blockquote>Four hundred plain, white postcards were faced on one side only with blotting paper. Fifty participants were asked to maintain constant personal possession of one card per person per week for each one of eight consecutive weeks. The last card retrieved each week has been replaced by two micrographs (x200 magnification), each one of the central areas of each one of both sides of each one of a total of eight selected cards. If x is the total number of cards not retrieved or (subsequently) removed; four hundred cards minus x plus eight units of two micrographs constitute the physical presence of this work. (Herring in Camden Arts Centre 1970, unpaginated.)</blockquote>\nWith the participatory aspect of the work finished for the work’s first exhibition in 1970, in its present form the filing cabinet and cards stand as a physical record of the conceptual process, exhibited in the gallery space with the draw of the cabinet open, in which several cards are visible. The micrographs (a photograph taken of something under microscopic magnification) were provided by Cambridge Scientific Instruments Ltd.\n\nProposition uses an intentionally complicated systematic structure to explore both physical and mental connectivity. It was included in the exhibition Idea Structures at Camden Arts Centre in 1970, curated by Charles Harrison, where it was shown alongside work by Keith Arnatt, Terry Atkinson, David Bainbridge, Michael Baldwin, Victor Burgin, Joseph Kosuth and Gerald Hurrell. Herring subsequently said of the work: ‘the whole idea of the activity of the work is involved with the “theory of interchange”, known in forensic science, which purports that it is impossible for me to leave or enter a situation without leaving something behind or taking something away. That is the lynchpin of the whole “Idea Structures” work.’ (Quoted in Art and Artists 1972, p.39.) Prior to making Proposition, Herring had made a number of what he called ‘environmental statements’, in which he used photography and documentation to record interventions into the landscape he made in primarily unpopulated areas (see Oiled Earth 1969, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/herring-oiled-earth-t13817\" title=\"View the details of this artwork\">T13817</a>, Tea-bag Piece 1968–9, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/herring-tea-bag-piece-t13815\" title=\"View the details of this artwork\">T13815</a> and Float 1969, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/herring-float-t13816\" title=\"View the details of this artwork\">T13816</a>).\nHerring studied at Manchester College of Art from 1963–6 and then at Central School of Art and Design from 1966–7. In the late 1960s Herring collaborated with fellow artist Keith Arnatt, most notably as the photographer for Arnatt’s Self Burial (Television Interference Project) 1969 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/arnatt-self-burial-television-interference-project-t01747\" title=\"View the details of this artwork\">T01747</a>). \n\nFurther reading\n \nIdea Structures, exhibition catalogue, Camden Arts Centre, London 1970. ‘Ed Herring: An Interview with Alistair Mackintosh’, Art and Artists, August 1972, pp.36–41.\nHelen Delaney May 2012 Arthur Goodwin December 2018\n</div>\n", "display_name": "Summary", "publication_date": "2021-01-28T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "box", "card index", "filing cabinet", "furnishings", "objects", "reading, writing, printed matter", "vessels and containers" ]

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artwork

6 photographs, gelatin silver print on paper

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118,378

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1,968

<a href="https://www.tate.org.uk/art/artists/ed-herring-1279" aria-label="More by Ed Herring" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Ed Herring</a>

Teabag Piece

2,013

[]

Purchased 2012

T13815

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

prints_and_drawings

7008154 7002445 7008591 7002963 7002889 1000070

Ed Herring

1,968

[]

Tea-bag Piece 1968–9 consists of a documentation board and five black and white gelatin silver prints. It documents one of Herring’s ‘environmental statements’, for which he nailed twelve polythene bags measuring eight by twelve inches to a tree in Belmont, Lancashire. Each bag contained one tea-bag and a measured quantity of water from a local stream. The bags were subject to progressive colour change, condensation, evaporation and extremes of temperature over several weeks. The five photographs, some of which are close-ups, show the tree immediately after being set up with the bags and then periodically throughout the winter of 1968–9. As such, as well as documenting the changes undergone by the liquid in the bags, the photographs also show the tree in different weather conditions, including snow, capturing the simple passing of time.

true

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1279

paper unique 6 photographs gelatin silver print

[]

Tea-bag Piece

1,968

Tate

1968–9

Prints and Drawings Rooms

CLEARED

5

overall dimensions variable

accessioned work

Tate

Purchased 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nTea-bag Piece 1968–9 consists of a documentation board and five black and white gelatin silver prints. It documents one of Herring’s ‘environmental statements’, for which he nailed twelve polythene bags measuring eight by twelve inches to a tree in Belmont, Lancashire. Each bag contained one tea-bag and a measured quantity of water from a local stream. The bags were subject to progressive colour change, condensation, evaporation and extremes of temperature over several weeks. The five photographs, some of which are close-ups, show the tree immediately after being set up with the bags and then periodically throughout the winter of 1968–9. As such, as well as documenting the changes undergone by the liquid in the bags, the photographs also show the tree in different weather conditions, including snow, capturing the simple passing of time. \nAlongside works such as Float 1969 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/herring-float-t13816\" title=\"View the details of this artwork\">T13816</a>), Oiled Earth 1969 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/herring-oiled-earth-t13817\" title=\"View the details of this artwork\">T13817</a>), Tie-Up 1969 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/herring-tie-up-t13820\" title=\"View the details of this artwork\">T13820</a>) and Zinc-Plated Wood 1969 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/herring-zinc-plated-wood-t13818\" title=\"View the details of this artwork\">T13818</a>), Tea-bag Piece is an early work which typifies Herring’s ‘environmental statements’, which were shown in two exhibitions in 1969: one at Manchester College of Art Gallery, where Herring was teaching; and in Survey 69. New Space at Camden Arts Centre, London, which can from October–November that year. His work in the late 1960s used photography and documentation to record interventions into the landscape made by him in primarily unpopulated areas. Zinc-Plated Wood was also made near Belmont in Lancashire, while Float and Oiled Earth were made in Yorkshire. The emphasis on recording and documenting his findings during these interventions preoccupied his work for decades: here, measuring the rate of condensation and evaporation of filled plastic bags of water with teabags nailed to a tree; or measuring the quantities of oil absorbed by the earth via an array of implanted tubes (Oiled Earth 1969, Tate T13817). Photography enabled Herring to develop new enquiries into duration: here, the duration of time it took for the tea-water within the plastic bags to progressively change colour, condense, and evaporate over the winter period. These subtle forms of intervention questioned consumption, creation and the cultural responsibilities involved in their making, and were deeply rooted in ecological and environmental concerns.\nHerring studied at Manchester College of Art from 1963–6 and then at Central School of Art and Design from 1966–7. In the late 1960s Herring collaborated with fellow artist Keith Arnatt, most notably as the photographer for Arnatt’s Self Burial (Television Interference Project) 1969 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/arnatt-self-burial-television-interference-project-t01747\" title=\"View the details of this artwork\">T01747</a>). \n\nFurther reading\n \nIdea Structures, exhibition catalogue, Camden Arts Centre, London 1970. ‘Ed Herring: An Interview with Alistair Mackintosh’, Art and Artists, August 1972, pp.36–41.\nHelen Delaney May 2012 Arthur Goodwin December 2018\n</div>\n", "display_name": "Summary", "publication_date": "2021-01-28T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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artwork

Photograph, gelatin silver print on paper

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118,386

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,969

<a href="https://www.tate.org.uk/art/artists/ed-herring-1279" aria-label="More by Ed Herring" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Ed Herring</a>

Oiled Earth

2,013

[]

Purchased 2012

T13817

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prints_and_drawings

7008154 7002445 7008591 7002963 7002889 1000070

Ed Herring

1,969

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Oiled Earth 1969 is a black and white photograph mounted on board, documenting a conceptual work by the British artist Ed Herring. It shows several tubes sticking in the ground and partially filled with a dark liquid, spread over a small area of grass and mud. In the original intervention, Herring returned amounts of crude oil to the earth via tubes embedded into the ground to a minimum depth of three feet. The oil was allowed to find its own level according to the absorbency of the surrounding ground.

true

1

https://media.tate.org.u…T13/T13817_9.jpg

1279

paper unique photograph gelatin silver print

[]

Oiled Earth

1,969

Tate

1969

Prints and Drawings Rooms

CLEARED

5

support: 170 × 237 mm

accessioned work

Tate

Purchased 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nOiled Earth 1969 is a black and white photograph mounted on board, documenting a conceptual work by the British artist Ed Herring. It shows several tubes sticking in the ground and partially filled with a dark liquid, spread over a small area of grass and mud. In the original intervention, Herring returned amounts of crude oil to the earth via tubes embedded into the ground to a minimum depth of three feet. The oil was allowed to find its own level according to the absorbency of the surrounding ground. \nAlongside works such as Tea-bag Piece 1969 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/herring-tea-bag-piece-t13815\" title=\"View the details of this artwork\">T13815</a>), Float 1969 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/herring-float-t13816\" title=\"View the details of this artwork\">T13816</a>), Tie-Up 1969 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/herring-tie-up-t13820\" title=\"View the details of this artwork\">T13820</a>) and Zinc-Plated Wood 1969 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/herring-zinc-plated-wood-t13818\" title=\"View the details of this artwork\">T13818</a>), Oiled Earth is an early work which typifies Herring’s ‘environmental statements’, which were shown in two exhibitions in 1969: one at Manchester College of Art Gallery, where Herring was teaching; and in Survey 69. New Space at Camden Arts Centre, London, which can from October–November that year. His work in the late 1960s used photography and documentation to record interventions into the landscape he made in primarily unpopulated areas. Like Float 1969, Oiled Earth was made near the home of the artist Keith Arnatt in Yorkshire; Tea-bag Piece and Zinc-Plated Wood were made near Belmont in Lancashire. The emphasis on recording and documenting his findings during interventions preoccupied his work for decades: here, this took the form of measuring the quantities of oil absorbed by the earth via an array of implanted tubes. Photography enabled Herring to develop new enquiries into duration: the duration of time it took for the oil to level out; or the time it took for a strip of fabric to move around a pond and sink in Float. These subtle forms of intervention questioned consumption, creation and the cultural responsibilities involved in their making, and were deeply rooted in ecological and environmental concerns. Oiled Earth in particular was the artist’s response to discussions at the time regarding the pouring of oil into the San Andreas fault in California to reduce the impact of future earthquakes.\nHerring studied at Manchester College of Art from 1963–6 and then at Central School of Art and Design from 1966–7. In the late 1960s Herring collaborated with Arnatt, most notably as the photographer for Arnatt’s Self Burial (Television Interference Project) 1969 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/arnatt-self-burial-television-interference-project-t01747\" title=\"View the details of this artwork\">T01747</a>). \n\nFurther reading\n \nIdea Structures, exhibition catalogue, Camden Arts Centre, London 1970. ‘Ed Herring: An Interview with Alistair Mackintosh’, Art and Artists, August 1972, pp.36–41.\nHelen Delaney May 2012 Arthur Goodwin December 2018\n</div>\n", "display_name": "Summary", "publication_date": "2021-01-28T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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artwork