bigdata-pw/tate · Datasets at Hugging Face

3 photographs, gelatin silver print on paper

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118,387

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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>

ZincPlated Wood

2,013

[]

Purchased 2012

T13818

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

prints_and_drawings

7008154 7002445 7008591 7002963 7002889 1000070

Ed Herring

1,969

[]

Zinc-Plated Wood 1969 comprises two black and white photographs on board and one unmounted photograph documenting a conceptual work by the British artist Ed Herring. They record an environmental action in which Herring took five hundred squares of zinc, each of which was two inches by two inches, to a woodland near Belmont, Lancashire. Within a designated area measuring half a mile long and a hundred yards wide, one zinc plate was nailed to every available tree. Herring then documented through photography how natural processes in the woodland altered the surface of the plates.

true

1

https://media.tate.org.u…T13/T13818_9.jpg

1279

paper unique 3 photographs gelatin silver print

[]

Zinc-Plated Wood

1,969

Tate

1969

Prints and Drawings Rooms

CLEARED

5

support: 189 × 246 mm (1/2 of 3) support: 196 × 251 mm (3 of 3)

accessioned work

Tate

Purchased 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nZinc-Plated Wood 1969 comprises two black and white photographs on board and one unmounted photograph documenting a conceptual work by the British artist Ed Herring. They record an environmental action in which Herring took five hundred squares of zinc, each of which was two inches by two inches, to a woodland near Belmont, Lancashire. Within a designated area measuring half a mile long and a hundred yards wide, one zinc plate was nailed to every available tree. Herring then documented through photography how natural processes in the woodland altered the surface of the plates. \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 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>), Zinc-Plated Wood 1969 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 Zinc-Plated Wood, Tea-bag Piece was made near Belmont in Lancashire; Float and Oiled Earth were made near the home of the artist Keith Arnatt in Yorkshire. The emphasis on recording and documenting his findings during these interventions preoccupied his work for decades: here, recording how the appearance of the plates, usually used by printmakers, changed with exposure to nature. Photography enabled Herring to develop new enquiries into duration: the duration of time it took for the surface of the plates to be altered; 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 of its making pouring 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 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" } ]

[]

null

false

artwork

Printed paper cards and plastic index box

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118,388

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1,973

<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>

ACTS

2,013

[]

Purchased 2012

T13819

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

421

7008154 7002445 7008591 7002963 7002889 1000070

Ed Herring

1,973

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ACTS 1973 uses a systematic structure to explore both physical and mental connectivity, in this case the Dewey Decimal Classification system commonly used by libraries for categorising books. This work comprises approximately 215 typed cards in a plastic index box. It work was exhibited in Herring’s solo exhibition, also entitled ACTS, at Nigel Greenwood Gallery, London in 1973.Gallery label, September 2016

false

1

https://media.tate.org.u…13/T13819_10.jpg

1279

sculpture printed paper cards plastic index box

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ACTS

1,973

Tate

1973

CLEARED

8

object: 220 × 140 × 170 mm

accessioned work

Tate

Purchased 2012

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null

false

1284 17500 174 170

false

artwork

Photograph, gelatin silver print on paper

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118,389

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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>

TieUp

2,013

[]

Purchased 2012

T13820

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

prints_and_drawings

7008154 7002445 7008591 7002963 7002889 1000070

Ed Herring

1,969

[]

Tie-Up 1969 is a black and white photograph on board which documents an action which the British artist Ed Herring carried out in an Essex wood in 1969. It is one of a series of works executed in various locations throughout the county of Essex in which he took string and tied it around all the trees in a particular area.

true

1

https://media.tate.org.u…T13/T13820_9.jpg

1279

paper unique photograph gelatin silver print

[]

Tie-Up

1,969

Tate

1969

Prints and Drawings Rooms

CLEARED

5

support: 171 × 245 mm

accessioned work

Tate

Purchased 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nTie-Up 1969 is a black and white photograph on board which documents an action which the British artist Ed Herring carried out in an Essex wood in 1969. It is one of a series of works executed in various locations throughout the county of Essex in which he took string and tied it around all the trees in a particular area. \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>), 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>) 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>), Tie-Up 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 made in primarily unpopulated areas. Tie-Up took place in Essex, unlike Float and Oiled Earth, which were made near fellow artist Keith Arnatt’s home in Yorkshire, and Tea-bag Piece and Zinc-Plated Wood, which were made near Belmont in Lancashire. The emphasis on recording and documenting his findings during these interventions preoccupied his work for decades: measuring the quantities of oil absorbed by the earth via an array of implanted tubes in Oiled Earth, for example. Photography enabled Herring to develop new enquiries into duration: the duration of 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 of its making pouring 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 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" } ]

[]

null

false

artwork

Oil paint on canvas

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118,390

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2,011

<a href="https://www.tate.org.uk/art/artists/amy-sillman-16982" aria-label="More by Amy Sillman" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Amy Sillman</a>

CLUBFOOT

2,013

[]

Purchased with funds provided by the American Patrons of Tate, courtesy of the North American Acquisitions Committee 2013

T13821

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

7007567 7013547 1003005 7007520 7012149

Amy Sillman

2,011

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Sillman is interested in the inheritance of abstract expressionism, a kind of painting that women artists of her generation were discouraged from making, since gestural painting was associated with male bravado. Sillman acknowledges that any artist wanting to make art from the starting point of their body will be involved with the messiness of materials. The compositions in her paintings are worked over in many layers, changing several times. She brings together fragments of figures, such as the ‘club foot’ of this work, with passages of abstract painting.Gallery label, July 2015

false

1

https://media.tate.org.u…13/T13821_10.jpg

16982

painting oil paint canvas

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CLUBFOOT

2,011

Tate

2011

CLEARED

6

support: 2310 × 2140 mm

accessioned work

Tate

Purchased with funds provided by the American Patrons of Tate, courtesy of the North American Acquisitions Committee 2013

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[ "abstraction", "arm", "body", "disability", "diseases and conditions", "emotions, concepts and ideas", "figure", "formal qualities", "from recognisable sources", "gestural", "leg", "people" ]

null

false

1585 93 1061 178 221 189 19508 1076

false

artwork

Wood

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118,391

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2,011

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112L

2,013

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Presented by Toby Clarke 2012

T13822

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

7013938 2000276 7007240 7012149

Leonardo Drew

2,011

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In 11 2L, many hundreds of small pieces of wood are densely packed to form a rough square. Their irregularity maintains a sense of the organic within this carefully structured grid. In N u m b er 185, long slats and logs protrude from a central grid, suggesting the force of nature disrupting the constructed world. Drew weathered and painted the wood used in these works to make them appear salvaged and charred. He describes ‘becoming the weather’ in his process of transforming the wood, emphasising our interconnectedness with forces larger than ourselves. Drew numbers his works rather than giving them descriptive titles. This allows viewers to create their own associations with their forms.Gallery label, November 2022

false

1

https://media.tate.org.u…T13/T13822_9.jpg

17320

relief wood

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112L

2,011

Tate

2011

CLEARED

7

object: 610 × 610 × 200 mm

accessioned work

Tate

Presented by Toby Clarke 2012

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null

false

2353 1171 158 8577 86 30 1297

true

artwork

Graphite, watercolour, crayon and oil paint on paper

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118,396

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1,947

<a href="https://www.tate.org.uk/art/artists/dame-barbara-hepworth-1274" aria-label="More by Dame Barbara Hepworth" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Dame Barbara Hepworth</a>

Project Waterloo Bridge Valleys

2,013

[]

Accepted by HM Government in lieu of inheritance tax 2010 and allocated to Tate 2012

T13823

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

7019040 7002445 7008591 7011362 7008116

Dame Barbara Hepworth

1,947

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false

1

https://media.tate.org.u…13/T13823_10.jpg

1274

paper unique graphite watercolour crayon oil paint

[ { "artistRoomsTour": false, "dateText": "24 June 2015 – 28 August 2016", "endDate": "2016-08-28", "exhibitionLegs": [ { "dateText": "24 June 2015 – 25 October 2015", "endDate": "2015-10-25", "id": 8668, "startDate": "2015-06-24", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" }, { "dateText": "27 November 2015 – 17 April 2016", "endDate": "2016-04-17", "id": 9388, "startDate": "2015-11-27", "venueName": "Kröller-Müller Museum (Otterlo, The Netherlands)", "venueWebsiteUrl": null }, { "dateText": "22 May 2016 – 28 August 2016", "endDate": "2016-08-28", "id": 9389, "startDate": "2016-05-22", "venueName": "Arp Museum Bahnhof Rolandseck (Remagen, Germany)", "venueWebsiteUrl": null } ], "id": 7096, "startDate": "2015-06-24", "title": "Barbara Hepworth: Sculpture for a Modern World", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "24 June 2015 – 28 August 2016", "endDate": "2016-08-28", "exhibitionLegs": [ { "dateText": "27 November 2015 – 17 April 2016", "endDate": "2016-04-17", "id": 9407, "startDate": "2015-11-27", "venueName": "Kröller-Müller Museum (Otterlo, The Netherlands)", "venueWebsiteUrl": null }, { "dateText": "22 May 2016 – 28 August 2016", "endDate": "2016-08-28", "id": 9408, "startDate": "2016-05-22", "venueName": "Arp Museum Bahnhof Rolandseck (Remagen, Germany)", "venueWebsiteUrl": null } ], "id": 7720, "startDate": "2015-06-24", "title": "Barbara Hepworth", "type": "Loan-out" } ]

Project for Waterloo Bridge: The Valleys

1,947

Tate

1947

CLEARED

5

frame: 485 × 612 × 23 mm

accessioned work

Tate

Accepted by HM Government in lieu of inheritance tax 2010 and allocated to Tate 2012

[ { "ajax_url": null, "canonical_url": null, "content": "Projects for Waterloo Bridge 1947\r\n\r\nL00948\r\n\n\n\n\n\r\nOil, crayon and pencil on paper\r\n\r\nEach 464 x 590 (18 1/4 x 23 1/4)\r\n\n\n\r\nOn loan from the artist's estate to the Barbara Hepworth Museum, St Ives\r\n\n\n\r\nLiterature: \n\n\r\nJ.P. Hodin, 'Portrait of the Artist, No. 27: Barbara Hepworth', Art News and Review, vol.2, no.1, 11 Feb. 1950, p.6 \n\n\r\nHerbert Read, Barbara Hepworth: Carvings and Drawings, 1952 section 5, unpag. \n\n\r\nAlan Bowness, Barbara Hepworth: Drawings from a Sculptor's Landscape, 1966, p.21 \n\n\r\nSally Festing, Barbara Hepworth: A Life of Forms, 1995, p.176\r\n\n\n\r\nDisplayed in the artist's studio, Barbara Hepworth Museum, St Ives\r\n\n\r\nHepworth's designs for <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> for London's Waterloo Bridge, over the River Thames, were her first participation in the public sculpture boom that followed the Second World War. Though none of the competitors' proposals was realised, her inclusion among the six major British sculptors invited to participate reflected her growing reputation.\r\n\r\nPlans for the reconstruction of Waterloo Bridge were initiated in 1923 when John Rennie's original (1811-17) showed signs of major structural weakness. The historical importance and popularity of the old bridge ensured controversy for the project, which, along with central government's refusal of funding, postponed a permanent solution for over a decade. However, the demands of growing road and river traffic forced a reconsideration and in 1934 the London County Council considered various proposals for a new bridge. Sir Giles Gilbert Scott's elegant design for a five-span bridge was accepted and the demolition of the old crossing began at the end of 1936. The foundation stone of the new structure was laid on 4 May 1939 and construction continued, despite the outbreak of war, so that the bridge was partially opened to traffic in August 1942 and in full use from 21 November 1944.\r\n\r\nIn common with a number of major architectural schemes of the inter-war years, such as the London Underground headquarters, Scott's original 1934 design (London Metropolitan Archive: LCC/PP/HIG/215) included plinths for sculptures above the stairways at each of the four corners. However, nothing seems to have been done before the bridge's completion. In 1942 the LCC announced that, though the bridge was in use, 'in view of the war certain works ... are being postponed ... Figure groups in stone will eventually be designed for the two masonry blocks at each end of the bridge' (LCC press release, 9 May 1942, LMA: LCC/CL/HIG/2/151). At an unspecified time after the bridge's final opening in 1944, Sir Charles Wheeler was invited to design four such groups. His 'model 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/d/drawing\" title=\"Glossary definition for 'Drawing'\">drawings</a>' for sculptures representing The Four Winds were accepted by the LCC Town Planning Committee on 30 September 1946 (sketches: Wolfsonian, Miami Beach, repr. Sculpture in Britain between the Wars, exh. cat., Fine Art Society 1986, p.153, no.109). However, following further consultation with Scott, that decision was revoked and the committee resolved that 'designs for the figure groups ... should be chosen on the basis of competition between sculptors of high repute' (LMA: LCC/MIN/11, 584). Six sculptors, approved by Scott, agreed to participate: Hepworth, Frank Dobson, Jacob Epstein, Eric Kennington, Henry Moore and Wheeler, who was asked to submit a new proposal. All but Hepworth had experience of comparable monumental commissions. Each competitor would receive ?150 for their submission, which was to include estimated costs of drawings, models and carving (the cost of stone, transport and erection was to be defrayed by the promoters). To ensure anonymity, entries were to bear no signatures or other identifying marks and the artist's name was submitted in a sealed envelope. The winning design would be chosen by three assessors: Scott, the sculptor Sir William Reid Dick and Sir Philip Hendy, Director of the National Gallery. This proposal was accepted by the committee at their 9 June 1947 meeting and a deadline for submissions was set for the following 13 October.\r\n\r\nThe conditions stated that the competitors were 'required to submit a model to a scale of 1 1/2 in.:1 foot [1:8] of one of the groups, and a drawing of each of the other three groups to the same scale ... A short report describing the subjects may also be submitted'. The 'figure groups' had to be of Portland Stone, in keeping with their pedestals. 'The choice of subject and the method of treatment' was left to the artists' discretion, though certain points were drawn to their attention. In particular, it was emphasised that the blocks were 'not designed for the ordinary type of sculpture superimposed on the top of the pedestals as independent units' (LMA: LCC/MIN/11, 214, p.84). Rather, the sculpture was 'intended to form a carved and modelled top to the masonry blocks, having a simple and compact outline with a low horizontal sculptural treatment. The silhouette, as seen from a distance, should form part of the lines of the bridge design' (ibid.).\r\n\r\nIn keeping with these instructions and following the precedent of Wheeler's design for the Four Winds, all of the surving entries consist of horizontal figure forms. Dobson produced four reclining figures symbolising President Roosevelt's Four Freedoms (repr. Neville Jason and Lisa Thompson-Pharoah, The Sculpture of Frank Dobson, 1994, p.150, nos. 155-7), while Kennington took the patron saints of the four nations of the United Kingdom as his theme (Wolfsonian, Miami Beach, repr. Sculpture in Britain between the Wars, exh. cat., Fine Art Society 1986, pp.97-9, nos. 65-8). Wheeler's second design has not been traced and Moore and Epstein were unable to complete their entries within the four month deadline.\r\n\r\nIn November the assessors wrote to the Clerk of the Council: 'We cannot but feel that the result of the competition was disappointing and we do not consider that any of the four schemes submitted can be adjudged suitable for the position that they are intended to occupy. We greatly regret, therefore, that we are unable to make any award' (LMA: LCC/MIN/11, 597). They suggested that the competition be extended to 'two or three additional sculptors ... and that a further six months be allowed ... [which] might also allow Mr Epstein and Mr Moore to complete their entries. If this course is adopted we should greatly appreciate the opportunity of submitting names of sculptors suitable for this type of work' (ibid.). As a consequence, at their meeting of 2 February 1948, the Town Planning Committee decided 'that no action be taken ... to provide sculpture' for the bridge (LMA: LCC/MIN/11, 214, p.273). The entries were returned to the artists along with their fee.\r\n\r\nThe Projects for Waterloo Bridge are the three drawings which Hepworth submitted in conjunction with a scale model as stipulated by the conditions of the competition. Each of the drawings comprises a view of an imagined sculpture with smaller images showing it from three other viewpoints. In common with the other entries, all of the designs are suggestive of a recumbent figure. Each is distinctive, however: one may be described as more rectilinear, another rises sinuously to a point and the third is more organic. According to Alan Bowness's catalogue of the artist's work (J.P. Hodin, Barbara Hepworth, 1961, p.166), she carved two small <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/m/maquette\" title=\"Glossary definition for 'Maquette'\">maquettes</a> in Portland Stone in relation to this project (BH 144.1, Hirshhorn Museum and Sculpture Garden, Washington D.C. and BH 144.2, private collection, USA). From the first of these she developed the 1/8 scale model for submission (BH 144.3, estate of the artist, repr. Penelope Curtis and Alan G. Wilkinson, Barbara Hepworth: A Retrospective, exh. cat., Tate Gallery Liverpool 1994, p.153). It appears to have been at this time that Hepworth developed her dissatisfaction with this working method. She recorded that, to her, the forms 'looked slightly absurd as maquettes since every curved surface and every pierced hole had been thought out in relation to the scale of human beings' (Read 1952, section 5).\r\n\r\nThe plinths on which the sculptures were to sit rise up from the middle of the double flights of stairs that link Waterloo Bridge to the street below. They are 3356mm (122 in.) long and 1066mm (42 in.) deep; from the bridge the top is slightly above eye level, but from the stairs they tower over the viewer. Each competitor was sent a scale elevation (1:8) of them and was instructed that their designs should 'include a portion of the pedestal blocks down to the line \"A-A\" on the drawing, 3 feet below the existing top' (LMA: LCC/MIN/11, 214, p.84). This is the portion in Hepworth's drawings which, in the main images, is depicted as seen by a pedestrian on the bridge. The subsidiary views appear to show the sculpture as seen from behind and as if approached from either direction along the pavement. \r\n\r\nThe pedestals are stepped at the top and the artists were allowed to remove the top course of stone in their designs, though they were advised that this was not possible on the north west block which had been incorporated into the adjacent terrace. The step is only included in the second of Hepworth's drawings, in which the two square windows on the right hand side suggest 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/f/form\" title=\"Glossary definition for 'Form'\">form</a> of the abutting Lancaster House. If the pointed sculpture may be thus associated with the north-west corner, it is not possible to identify with certainty the positions for which the other designs were intended, not least because extensive post-war building has obscured the views to which Hepworth alludes in her drawings. The first design, of the rectilinear form, may be for the south-western sculpture as the tower on the right hand edge may be the Victoria Tower of the Houses of Parliament. However, there is a faint outline of a dome topped with a cross on the left which probably suggests St Paul's Cathedral. This would identify the site of the drawing as one of the eastern corners of the bridge looking towards the City of London. In which case, the tower may be that of Southwark Cathedral on the south bank of the river. If, as one might expect, the larger part of each form was to be at its landward end, the rectilinear form would be placed at the north-east corner, beside Somerset House, the model would be located at the south-west corner and the more organic design at the south-east. The spire on the right hand side of the latter is not obviously recognisable, but the Klee-like interlocking forms of the other buildings around it are particularly suggestive of the densely built (though then heavily bomb-damaged) City. Though a bend in the river makes the north bank visible on both sides of the south-eastern plinth, it may be questionable whether the angle and proximity of the supposed City would be consistent with that position. That the carved maquette is especially similar to the Lancaster House figure and so might be more likely to be sited opposite it, at the northern end of the bridge, might also militate against this scheme. However, it seems significant that in 1947 the view of the south-western plinth from the bridge would have been dominated by the Shot Tower which stood immediately behind it. Though it is possible that the backgrounds are more suggestive than accurate, Hepworth recorded that she spent a lot of time considering her design on site (Read 1952, section 5). It may be, therefore, that the absence of such a prominent feature from the three drawings indicates that the maquette was intended for the plinth beneath the tower.\r\n\r\nThough the motif of the reclining figure had featured in Hepworth's treatment of the Mother and Child theme in 1934 (Tate Gallery <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"/art/artworks/T06676\" onclick=\"popTateObjects(event, -1, 'T06676');\" title=\"View details of this artwork\">T06676</a>), it was especially prominent in post-war British sculpture through the success of Henry Moore's work. Hepworth's four designs are more <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/a/abstract-art\" title=\"Glossary definition for 'Abstract art'\">abstract</a> than Moore's sculpture, but the basic definition of the figure by means of a twisting, organic form may be compared to his Recumbent Figure, 1938 (LH 191, Tate Gallery, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"/art/artworks/N05387\" onclick=\"popTateObjects(event, -1, 'N05387');\" title=\"View details of this artwork\">N05387</a>, repr. Herbert Read, Henry Moore Volume 1: Sculpture 1921-48, 1957, pp.112-13), with which Hepworth was undoubtedly familiar. The choice of the recumbent figure was clearly determined by the competition conditions' stipulation of 'a low horizontal sculptural treatment' (LMA: LCC/MIN/11, 214, p.84) and is appropriate to the shape and scale of the blocks beneath. This may undermine Alan Bowness's identification of the vertical, rectilinear figures of Drawing for Stone Sculpture, 1947 (Private Collection, repr. Alan Bowness, Barbara Hepworth: Drawings from a Sculptor's Landscape, 1966, pl.33) as 'one of the ideas' for the Waterloo Bridge competition (ibid. p.21). Nevertheless, though the style of that drawing is closer to such later works as Two Figures (Heroes), 1954 (Tate Gallery <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"/art/artworks/T03155\" onclick=\"popTateObjects(event, -1, 'T03155');\" title=\"View details of this artwork\">T03155</a>), its form does accord with Hepworth's reported concerns for the design. A few years later she recalled spending 'many hours contemplating the architectural and sculptural scale of the site in relation to the thousands of people who passed over or under the bridge' (Read 1952, section 5). It is probable that pressures on Hepworth would have prevented experimentation with widely varying ideas: shortly after receiving the invitation to compete, with the school holidays in prospect, she complained to E.H. Ramsden, 'they only give four months for the competition. It does not allow time for anything to go wrong. What a hazard life is for women' (Letter to E.H. Ramsden, nd [June 1947], TGA 9310).\r\n\r\nDespite their site-specificity, these designs are consistent with her carvings of the period. In her works of 1946, a number of which were in Portland Stone, the organic ovoid of such pieces as Oval Sculpture, 1943 (Tate Gallery <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"/art/artworks/T00953\" onclick=\"popTateObjects(event, -1, 'T00953');\" title=\"View details of this artwork\">T00953</a>) developed into a more twisted, though still enwrapping, form. The title of Involute, 1946 (BH 135, M.A. Tachmindji, repr. Hodin 1961, pl.135), for example, announces this new complexity. Other comparable works suggest that the horizontality of the Waterloo designs may be related to the artist's engagement with <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/l/landscape\" title=\"Glossary definition for 'Landscape'\">landscape</a>. The hollowed, slightly spiralling form of Pendour, 1947 (BH145, Hirshhorn Museum, Washington, D.C., repr. Hodin 1961, pl.145), a wood carving similar to those of the bridge works, is implicitly linked to a place by its title. J.P. Hodin saw the Waterloo Bridge designs in abstract, musical terms, describing them in 1950 as 'music turned into stone, pure harmonies, <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/o/orphism\" title=\"Glossary definition for 'Orphism'\">orphic</a> sculpture' (Hodin 1950). He later related their abstraction to the theme of landscape and their urban context. He believed that with them Hepworth had achieved a balance between her two preoccupations: sculpture and landscape, and sculpture and architecture. This led, he suggested, to 'the inclusion within the sculpture of lyrical qualities born from the sensations of nature and designed as a contrapuntal poetic element to express the essence of modern architecture' (Hodin 1961, p.20).\r\n\r\nComing at a time of change and reappraisal in her work, the Waterloo project must have appealed to Hepworth's interest in the artist's role in society as well as in the question of sculpture in the modern city. This was especially the case with this scheme as plans were underway for the redevelopment of the South Bank site adjacent to the bridge's southern end. In 1951 the area would host the Festival of Britain, but its designation in 1946 as the site for a National Theatre had already established it as a symbol of the cultural regeneration of the bomb-damaged city. One may see the theme of regeneration reflected in the enfolding form of the designs. A litany of terms in a letter to E.H. Ramsden reveals the preoccupation in Hepworth's sculptures at that time: \"the beginning\"... \"Origin\" ... \"source\" ... \"Eir?ne\"'... \"evolution\" (nd [1946] TGA 9310). A similar concern with birth and generation might be suggested by these designs' balance between the abstraction of such works as Oval Sculpture and allusion to the female body. \r\n\r\nIn their attempt to give a literal depiction of a finished sculpture, the drawings are unique in Hepworth's oeuvre. Some of her earlier carvings, - Seated Figure, 1932-3 (Tate Gallery <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"/art/artworks/T03130\" onclick=\"popTateObjects(event, -1, 'T03130');\" title=\"View details of this artwork\">T03130</a>), for example - were developed from small linear sketches and some of her wartime abstract <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'\">paintings</a>, which she described as drawings for sculpture, such as Forms with Colour, 1941 (Tate Gallery <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"/art/artworks/T07010\" onclick=\"popTateObjects(event, -1, 'T07010');\" title=\"View details of this artwork\">T07010</a>), included suggestions of alternative views of the same imagined solid. Similarly, many of her paintings of the 1950s and 1960s may be associated with contemporaneous three-dimensional works. However, though the degree of finish was determined by the nature of the competition, the three Waterloo designs offer an unprecedented insight into the completeness of her conception of a sculpture prior to carving. Nevertheless, she recognised the need for flexibility during the working process, when, in 1946, she stated: 'Before I can start carving the idea must be almost complete. I say \"almost\" because the really important thing seems to be the sculptor's ability to let intuition guide him over the gap between conception and realization without compromising the integrity of the original idea' (Barbara Hepworth, 'Approach to Sculpture', Studio, vol.132, no.643, Oct. 1946, p.98). She added, 'I rarely make drawings for a particular sculpture; but often scribble sections of form or lines on bits of scrap <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/paper\" title=\"Glossary definition for 'Paper'\">paper</a> or cigarette boxes when I am working' (ibid.).\r\n\r\nNevertheless, the drawings share the same technique as most of her other pictures. The support was prepared with a gesso-like ground, which is probably Ripolin Flat white household paint. The forms were drawn in <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/g/graphite\" title=\"Glossary definition for 'Graphite'\">pencil</a> with some ochre shading and the pencil hatching was scratched back in some places. Ultramarine <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/watercolour\" title=\"Glossary definition for 'Watercolour'\">watercolour</a> or oil glaze was washed around them, with turquoise crayon being used to finish off with hatching around the silhouettes.\r\n\r\nThough unrealised, the project for Waterloo Bridge appears to have stimulated Hepworth's interest in monumental sculpture. In May 1948 she told Ben Nicholson that she was considering renting a field from a neighbour, Ethel Hodgkins, 'in order to do one large sculpture'. 'I want to do one of three tons', she wrote alongside a small rough sketch of a sculpture similar to the bridge proposals and considerably higher than a man (letter, 1 May [1948], TGA: 8717.1.1.328). That work was never carved, but a major commission for the Festival of Britain's South Bank site in 1949, resulting in Contrapuntal Forms, 1950 (BH 165, Harlow Art Trust) soon realised her ambition for public sculpture.\r\n\n\n\r\nChris Stephens \r\nMarch 1998\r\n\n\n", "display_name": "Catalogue entry", "publication_date": "2004-09-14T00:00:00", "slug_name": "catalogue-entry", "type": "CATALOGUE_ENTRY" } ]

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artwork

Oil paint, watercolour, crayon and graphite on paper

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118,397

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" }, { "id": 268602, "shortTitle": "Project for Waterloo Bridge" } ]

1,947

<a href="https://www.tate.org.uk/art/artists/dame-barbara-hepworth-1274" aria-label="More by Dame Barbara Hepworth" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Dame Barbara Hepworth</a>

Project Waterloo Bridge Hills

2,013

[]

Accepted by HM Government in lieu of inheritance tax 2010 and allocated to Tate 2012

T13824

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

7019040 7002445 7008591 7011362 7008116

Dame Barbara Hepworth

1,947

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false

1

https://media.tate.org.u…13/T13824_10.jpg

1274

paper unique oil paint watercolour crayon graphite

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Project for Waterloo Bridge: The Hills

1,947

Tate

1947

CLEARED

5

unconfirmed: 464 × 590 mm

accessioned work

Tate

Accepted by HM Government in lieu of inheritance tax 2010 and allocated to Tate 2012

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null

false

92 9329 2803 451 221 80 189 19675 856 565 495 1204 9301 112 2728

false

artwork

Oil paint, watercolour, crayon and graphite on paper

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118,398

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1,947

<a href="https://www.tate.org.uk/art/artists/dame-barbara-hepworth-1274" aria-label="More by Dame Barbara Hepworth" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Dame Barbara Hepworth</a>

Project Waterloo Bridge Sea

2,013

[]

Accepted by HM Government in lieu of inheritance tax 2010 and allocated to Tate 2012

T13825

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

7019040 7002445 7008591 7011362 7008116

Dame Barbara Hepworth

1,947

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false

1

https://media.tate.org.u…13/T13825_10.jpg

1274

paper unique oil paint watercolour crayon graphite

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Project for Waterloo Bridge: The Sea

1,947

Tate

1947

CLEARED

5

unconfirmed: 464 × 590 mm

accessioned work

Tate

Accepted by HM Government in lieu of inheritance tax 2010 and allocated to Tate 2012

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[ "abstraction", "actions: postures and motions", "adults", "architecture", "diagrammatic", "emotions, concepts and ideas", "England", "figure", "figure", "fine arts and music", "formal qualities", "from recognisable sources", "monumental", "objects", "people", "places", "plinth", "reclining", "river", "River Thames", "townscape, distant", "townscapes / man-made features", "UK countries and regions", "UK London", "UK natural features", "water: inland", "Waterloo Bridge" ]

null

false

92 9329 2803 221 451 80 189 19675 856 565 495 1204 989 9301 112 2728

false

artwork

Oil paint and graphite on paper

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118,401

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1,949

<a href="https://www.tate.org.uk/art/artists/dame-barbara-hepworth-1274" aria-label="More by Dame Barbara Hepworth" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Dame Barbara Hepworth</a>

Seated Woman with Clasped Hands

2,013

[]

Accepted by HM Government in lieu of inheritance tax 2010 and allocated to Tate 2012

T13826

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

7019040 7002445 7008591 7011362 7008116

Dame Barbara Hepworth

1,949

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false

1

https://media.tate.org.u…13/T13826_10.jpg

1274

paper unique oil paint graphite

[]

Seated Woman with Clasped Hands

1,949

Tate

1949

CLEARED

5

unconfirmed: 470 × 355 mm frame: 530 × 420 × 25 mm

accessioned work

Tate

Accepted by HM Government in lieu of inheritance tax 2010 and allocated to Tate 2012

[ { "ajax_url": null, "canonical_url": null, "content": "Seated Woman with Clasped Hands 1949\r\n\r\nL00951\r\n\n\n\r\nOil & pencil on board\r\n\r\n470 x 355 (18 1/2 x 14)\r\n\n\n\n\n\n\n\r\nInscribed in pencil 'Barbara Hepworth 1949' b.r. and on backing board '\"Seated Woman with clasped hands\" | 1948 oil + pencil | X6611'\r\n\n\n\r\nOn loan from the artist's estate to the Barbara Hepworth Museum, St Ives\r\n\n\n\r\nExhibited: \n\n\nBarbara Hepworth, Durlacher Bros., New York, Oct. 1949 (?23, Seated Figure or 32, Seated Woman) \n\n\nSix English Moderns: Piper, Sutherland, Hepworth, Tunnard, Moore, Nicholson, Cincinatti Art Museum, Feb. 1950 (no number, as Seated Woman with Clasped Hands) \n\n\nBarbara Hepworth: Retrospective Exhibition 1927-54, Whitechapel Art Gallery, April-June 1954 (122)\r\n\n\n\n\r\nTowards the end of 1947 Hepworth returned to <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\">drawing</a> the nude figure for the first time since the 1920s. Though they adopt the appearance of working drawings in their use of multiple view points and studies of detail, the resultant pictures may be seen as finished <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'\">paintings</a>. In conjunction with the contemporaneous hospital paintings, such as Fenestration of the Ear (Tate Gallery <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"/art/artworks/T02098\" onclick=\"popTateObjects(event, -1, 'T02098');\" title=\"View details of this artwork\">T02098</a>), they were considered to be a significant departure for the artist and reflect the diversity of her output immediately after the war. As well as being works in their own right, they also contributed to the development of her <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/a/abstract-art\" title=\"Glossary definition for 'Abstract art'\">abstract</a> <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'\">sculpture</a> into a semi-<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/figurative-art\" title=\"Glossary definition for 'Figurative'\">figurative</a> mode.\r\n\nSeated Woman with Clasped Hands is typical in Hepworth's employment of a <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/i/impasto\" title=\"Glossary definition for 'Impasto'\">textured</a> gesso-like white ground; this is most probably Ripolin white, a household paint favoured by the artist, in common with Ben Nicholson and, earlier, Christopher Wood. As in Two Figures with Folded Arms, 1947 (Tate Gallery <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"/art/artworks/T00269\" onclick=\"popTateObjects(event, -1, 'T00269');\" title=\"View details of this artwork\">T00269</a>), Hepworth applied a grey oil glaze, which was then scraped down to leave a residue of paint in the grooves of the ground, creating a surface of modulating texture and colour. A warmer off-white was then applied to a roughly square area a little smaller than the support and the artist drew over this. The discrete portions of the picture - the main figure, and studies of head and hands - are isolated by the rubbing away of the colour between them in some areas and by the application of grey wash in other places. The basic drawing appears to have been made quickly in fine <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/g/graphite\" title=\"Glossary definition for 'Graphite'\">pencil</a> and some lines, those of the elbow and the profile of the main figure for instance, were strengthened later; a double outline can be seen in various places as a result. Grey wash was used for shading the contours of the figure and traces of what may be cont? crayon are discernable along the back of the arm and leg. The sharp, hard continuous pencil line, seen most clearly in the study of the hands on the right hand side, is typical of Hepworth's drawing at that time and reflects her debt to Ben Nicholson's particularly linear graphic style.\r\n\r\nThe inclusion of more than one viewpoint in the picture is a characteristic of the figure paintings of the late 1940s and is also seen in Two Figures with Folded Arms. In works such as Seated Woman with Clasped Hands this resembles the established form of study drawings - examinations of details in relation to a larger image. Hepworth's reported insistence on the model's moving 'about naturally, pausing or resting at certain moments, but never taking up an artificial position' (Bowness 1966, p.20) indicates the artist's desire to see the pictures as naturalistic examinations of the human form. However, they were also more contrived. In a number of similar works different views of a single model interlock to produce a <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/c/cubism\" title=\"Glossary definition for 'Cubism'\">Cubist</a>-like multi-faceted figure. Hepworth's semi-figurative sculptures of the late 1940s and early 1950s, such as Biolith, 1948-9 (BH 155, Jonathan Clark, repr. J.P. Hodin, Barbara Hepworth, 1961, pl.155) and Bicentric <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/form\" title=\"Glossary definition for 'Form'\">Form</a>, 1949 (Tate Gallery <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"/art/artworks/N05932\" onclick=\"popTateObjects(event, -1, 'N05932');\" title=\"View details of this artwork\">N05932</a>), can be seen to have developed from these conglomerate figures, which thus come to stand for an interaction between two individuals. The process of drawing may thus be seen as part of her formulation of a new sculptural style in which the human figure was brought together with her abstract forms. \r\n\n\n\r\nChris Stephens \r\nMarch 1998\r\n\n\n", "display_name": "Catalogue entry", "publication_date": "2004-09-14T00:00:00", "slug_name": "catalogue-entry", "type": "CATALOGUE_ENTRY" } ]

[ "actions: postures and motions", "adults", "body", "female", "hands clasped", "head / face", "nudes", "people", "sitting", "woman" ]

null

false

92 93 519 4670 615 98 694 167

true

artwork

Oil paint and ink on board

[ { "append_role_to_name": false, "date": "1903–1975", "fc": "Dame Barbara Hepworth", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/dame-barbara-hepworth-1274" } ]

118,402

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1,957

<a href="https://www.tate.org.uk/art/artists/dame-barbara-hepworth-1274" aria-label="More by Dame Barbara Hepworth" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Dame Barbara Hepworth</a>

Spring 1957 Project Sculpture

2,013

[]

Accepted by HM Government in lieu of inheritance tax 2010 and allocated to Tate 2012

T13827

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

7019040 7002445 7008591 7011362 7008116

Dame Barbara Hepworth

1,957

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false

1

https://media.tate.org.u…13/T13827_10.jpg

1274

painting oil paint ink board

[ { "artistRoomsTour": false, "dateText": "23 May 2015 – 27 September 2015", "endDate": "2015-09-27", "exhibitionLegs": [ { "dateText": "23 May 2015 – 27 September 2015", "endDate": "2015-09-27", "id": 9514, "startDate": "2015-05-23", "venueName": "Tate St Ives (St Ives, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/stives/" } ], "id": 7807, "startDate": "2015-05-23", "title": "Images moving out onto space", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "4 November 2019 – 22 March 2020", "endDate": "2020-03-22", "exhibitionLegs": [ { "dateText": "4 November 2019 – 22 March 2020", "endDate": "2020-03-22", "id": 12992, "startDate": "2019-11-04", "venueName": "Musée Rodin (Paris, France)", "venueWebsiteUrl": null } ], "id": 10697, "startDate": "2019-11-04", "title": "Barbara Hepworth at the Rodin Museum", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "21 May 2021 – 3 September 2023", "endDate": "2023-09-03", "exhibitionLegs": [ { "dateText": "27 May 2023 – 3 September 2023", "endDate": "2023-09-03", "id": 15207, "startDate": "2023-05-27", "venueName": "Towner (Eastbourne, UK)", "venueWebsiteUrl": "http://www.townereastbourne.org.uk/" } ], "id": 10888, "startDate": "2021-05-21", "title": "Barbara Hepworth", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "26 November 2022 – 1 May 2023", "endDate": "2023-05-01", "exhibitionLegs": [ { "dateText": "26 November 2022 – 1 May 2023", "endDate": "2023-05-01", "id": 14972, "startDate": "2022-11-26", "venueName": "Tate St Ives (St Ives, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/stives/" } ], "id": 12307, "startDate": "2022-11-26", "title": "Barbara Hepworth: Art & Life", "type": "Exhibition" } ]

Spring, 1957 (Project for Sculpture)

1,957

Tate

1957

CLEARED

6

support: 610 × 456 mm frame: 640 × 488 × 53 mm

accessioned work

Tate

Accepted by HM Government in lieu of inheritance tax 2010 and allocated to Tate 2012

[ { "ajax_url": null, "canonical_url": null, "content": "Spring, 1957 (Project for Sculpture) 1957\r\n\r\nL00953\r\n\n\n\r\nOil and ink on board\r\n\r\n613 x 447 (24 1/8 x 18 3/4)\r\n\n\n\n\n\n\n\r\nInscribed on back of backing board in pencil over white ground 'TOP' with arrow, t., and 'Barbara Hepworth | Spring 1957 (project for Sculpture | oil 24\" x 18\" 1957' centre; in another hand 'Gimpel' t.r., and '220-0694 | 270-3679' t.l.\r\n\n\n\r\nOn loan from the artist's estate to the Barbara Hepworth Museum, St Ives\r\n\n\n\r\nExhibited: \n\n\nPenwith Society of Arts in Cornwall: A Selection of Paintings and Drawings, Sculpture and Pottery, St Ives, AC tour 1957-8, Laing Art Gallery, Newcastle, Nov.-Dec. 1957, Ferens Gallery, Hull, Dec. 1957 - Jan. 1958, Leicester Art Gallery, Jan.-Feb., Museum and Art Gallery, Mansfield, Feb.- March, Birmingham City Art Gallery, March -April, Brighton Art Gallery, April - May, Hereford Art Gallery, May - June, Museum and Art Gallery, Kettering, June - July, Bolton Art Gallery, July - Aug., Cooper Art Gallery, Barnsley, Aug., Turner House Museum, Penarth, Sept., Arts Council Gallery, Cambridge, Oct.-Nov. (16 as 'Spring 1957') \n\n\nIVe Exposition Internationale de Sculpture Contemporaine, Mus?e Rodin, Paris, June 1971 (not in cat.)\r\n\n\n\r\nDisplayed in the artist's studio, Barbara Hepworth Museum, St Ives\r\n\n\r\nA hollow implement - possibly a straw - was used to apply the interlacing lines of Spring, 1957 (Project for <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'\">Sculpture</a>). Barbara Hepworth used this individual technique for a considerable number of contemporary pictures, which combine <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\">drawing</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/painting\" title=\"Glossary definition for 'Painting'\">painting</a> and in which the speed of the gesture appears paramount; these include Perigord (Tate Gallery <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"/art/artworks/T00701\" onclick=\"popTateObjects(event, -1, 'T00701');\" title=\"View details of this artwork\">T00701</a>). The flow of black <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/i/ink\" title=\"Glossary definition for 'Ink'\">ink</a> facilitated the process which may be related to her interest in <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/tachisme\" title=\"Glossary definition for 'Tachisme'\">Tachisme</a>, 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/g/gestural\" title=\"Glossary definition for 'Gestural'\">gestural</a> <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/a/abstract-art\" title=\"Glossary definition for 'Abstract art'\">abstraction</a> being explored in Paris in the 1950s.\r\n\r\n Close inspection reveals the preparation of the board in anticipation of this burst of activity. In common with the majority of her <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\">drawings</a>, a dry gesso-like ground was applied in long horizontal strokes affording a slightly <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/i/impasto\" title=\"Glossary definition for 'Impasto'\">textured</a> surface. Further long scratches were made before the Indian red paint was worked in. The effect of a central glow was achieved by rubbing away the paint to reveal the white below, and then a number of hurried lines were made in pale blue. Though indistinct, these established the pattern of upward loops and nest of lines at the base. The black ink followed and elaborated this lead, adding the more agitated lines at the centre where the speed of application is indicated by the way in which the ink is pressed out to either side of the line. The semi-circular and puddled end point to the line at the middle right confirms the shape of the implement.\r\n\r\n In a letter of 3 March 1965 (Tate Gallery Catalogue Files), Hepworth told the Tate that the related drawing Perigord was connected to her sculpture Meridian, 1958-60 (BH 250, Pepsi Cola Corporation, repr. J.P. Hodin, Barbara Hepworth, 1961, pl.250), for which Garden Sculpture (Model for Meridian) (Tate Gallery <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"/art/artworks/T03139\" onclick=\"popTateObjects(event, -1, 'T03139');\" title=\"View details of this artwork\">T03139</a>) was an intermediary state. The loose line has some echo in the folded strands of the sculpture, but the drawings anticipated the commission, which came in late 1958. The subtitle of Spring, 1957 (Project for Sculpture) was one commonly used by the sculptor even when not linked to a specific three-dimensional work. The suggestion of natural phenomena as a sources of inspiration is found in the titles of this and other closely related drawings, notably Figures (Summer) Yellow and White, 1957 and Wind Movement No.2, 1957 (private collections, repr. Alan Bowness, Barbara Hepworth: Drawings from a Sculptor's Landscape, 1966, pls.41,42). As Group (Dance) May 1957 (Barbara Hepworth Estate, repr. Penelope Curtis and Alan G. Wilkinson, Barbara Hepworth: A Retrospective, exh. cat., Tate Gallery Liverpool 1994, p.138, no.111) shows, however, the spontaneity of gesture allowed by working with paint almost certainly preceded any subject matter, making these pictures amongst Hepworth's least premeditated works.\r\n\r\n A label on the reverse indicates that the drawing was shown at the IVe Exposition Internationale de Sculpture Contemporaine, Mus?e Rodin in 1971. Although Hepworth was amongst the British contingent, only her boxwood Single <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/form\" title=\"Glossary definition for 'Form'\">Form</a> (Antiphone), 1953 (BH 187, estate of the artist, repr. Hodin 1961, pl.187) is listed in the catalogue.\r\n\n\n\r\nMatthew Gale \r\nMarch 1998\r\n\n\n", "display_name": "Catalogue entry", "publication_date": "2004-09-14T00:00:00", "slug_name": "catalogue-entry", "type": "CATALOGUE_ENTRY" } ]

[ "abstraction", "from recognisable sources", "gestural", "non-representational", "organic", "plant", "plants and flowers", "seasons", "spring" ]

null

false

189 227 185 224 2369 72 74 1615

true

artwork

Ceramic, sand, glue, expanding foam and paint

[ { "append_role_to_name": false, "date": "born 1968", "fc": "Brian Griffiths", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/brian-griffiths-13287" } ]

118,404

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

2,007

<a href="https://www.tate.org.uk/art/artists/brian-griffiths-13287" aria-label="More by Brian Griffiths" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Brian Griffiths</a>

Clown Situation Grey Stripe

2,013

[]

Presented by the artist 2012

T13829

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

7011781 7010956 7008178 7002445 7008591

Brian Griffiths

2,007

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false

1

https://media.tate.org.u…13/T13829_10.jpg

13287

sculpture ceramic sand glue expanding foam paint

[]

The Clown Situation (Grey Stripe)

2,007

Tate

2007

CLEARED

8

object: 260 × 180 × 180 mm

accessioned work

Tate

Presented by the artist 2012

[]

[ "clown", "emotions, concepts and ideas", "humour", "objects", "toys and models", "universal concepts", "vase", "vessels and containers" ]

null

false

10204 5443 89 30 1461 170

false

artwork

Acrylic paint on paper

[ { "append_role_to_name": false, "date": "1944–2023", "fc": "Dame Phyllida Barlow DBE RA", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/dame-phyllida-barlow-dbe-ra-10908" } ]

118,406

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999977, "shortTitle": "Chantrey Bequest" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,990

<a href="https://www.tate.org.uk/art/artists/dame-phyllida-barlow-dbe-ra-10908" aria-label="More by Dame Phyllida Barlow DBE RA" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Dame Phyllida Barlow DBE RA</a>

2,013

[]

Presented by the Trustees of the Chantrey Bequest 2012

T13831

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

7012026 7019073 7002445 7008591 7011781 7008136

Dame Phyllida Barlow DBE RA

1,990

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Drawing is important in Barlow’s practice, and central to an understanding of her sculptural work. These drawings span a period of more than twenty years. They embody the same ambiguous nature as Barlow’s sculptures and represent the range of her sculptural vocabulary, which includes racks, arenas, greengrocer’s crates, crumpled canvases, strange furniture wrapped around with soft materials, and the layering, accumulation and juxtaposition of ambiguous objects and shapes. Made with thick, gestural brushstrokes, the drawings retain spontaneity of feeling and vitality. Across the group, similar marks are repeated and developed, suggesting solid forms and hinting at familiar shapes.Gallery label, October 2013

false

1

https://media.tate.org.u…13/T13831_10.jpg

10908

paper unique acrylic paint

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Untitled

1,990

Tate

c.1990–5

CLEARED

5

support: 295 × 420 mm frame: 372 × 495 × 25 mm

accessioned work

Tate

Presented by the Trustees of the <a href="/search?gid=999999977" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Chantrey Bequest</a> 2012

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[ "architecture", "Barlow, Phyllida, sculpture", "emotions, concepts and ideas", "fence", "fine art and design, named works", "formal qualities", "gestural", "objects", "townscapes / man-made features" ]

null

false

20326 1104 10639 19508

false

artwork

Acrylic paint on paper

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118,407

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1,995

<a href="https://www.tate.org.uk/art/artists/dame-phyllida-barlow-dbe-ra-10908" aria-label="More by Dame Phyllida Barlow DBE RA" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Dame Phyllida Barlow DBE RA</a>

2,013

[]

Presented by the Trustees of the Chantrey Bequest 2012

T13832

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

7012026 7019073 7002445 7008591 7011781 7008136

Dame Phyllida Barlow DBE RA

1,995

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Drawing is important in Barlow’s practice, and central to an understanding of her sculptural work. These drawings span a period of more than twenty years. They embody the same ambiguous nature as Barlow’s sculptures and represent the range of her sculptural vocabulary, which includes racks, arenas, greengrocer’s crates, crumpled canvases, strange furniture wrapped around with soft materials, and the layering, accumulation and juxtaposition of ambiguous objects and shapes. Made with thick, gestural brushstrokes, the drawings retain spontaneity of feeling and vitality. Across the group, similar marks are repeated and developed, suggesting solid forms and hinting at familiar shapes.Gallery label, October 2013

false

1

https://media.tate.org.u…13/T13832_10.jpg

10908

paper unique acrylic paint

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Untitled

1,995

Tate

1995

CLEARED

5

support: 483 × 752 mm frame: 560 × 820 × 25 mm

accessioned work

Tate

Presented by the Trustees of the <a href="/search?gid=999999977" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Chantrey Bequest</a> 2012

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[ "architecture", "Barlow, Phyllida, sculpture", "features", "fine art and design, named works", "industrial", "objects", "platform / stage", "structure" ]

null

false

20326 17 10639 19 1018 7205

false

artwork

Acrylic paint on paper

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118,408

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1,993

<a href="https://www.tate.org.uk/art/artists/dame-phyllida-barlow-dbe-ra-10908" aria-label="More by Dame Phyllida Barlow DBE RA" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Dame Phyllida Barlow DBE RA</a>

2,013

[]

Presented by the Trustees of the Chantrey Bequest 2012

T13833

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

7012026 7019073 7002445 7008591 7011781 7008136

Dame Phyllida Barlow DBE RA

1,993

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Drawing is important in Barlow’s practice, and central to an understanding of her sculptural work. These drawings span a period of more than twenty years. They embody the same ambiguous nature as Barlow’s sculptures and represent the range of her sculptural vocabulary, which includes racks, arenas, greengrocer’s crates, crumpled canvases, strange furniture wrapped around with soft materials, and the layering, accumulation and juxtaposition of ambiguous objects and shapes. Made with thick, gestural brushstrokes, the drawings retain spontaneity of feeling and vitality. Across the group, similar marks are repeated and developed, suggesting solid forms and hinting at familiar shapes.Gallery label, October 2013

false

1

https://media.tate.org.u…13/T13833_10.jpg

10908

paper unique acrylic paint

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Untitled

1,993

Tate

c.1993–7

CLEARED

5

frame: 754 × 1015 × 30 mm

accessioned work

Tate

Presented by the Trustees of the <a href="/search?gid=999999977" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Chantrey Bequest</a> 2012

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[ "architecture", "Barlow, Phyllida, sculpture", "box", "emotions, concepts and ideas", "fine art and design, named works", "formal qualities", "gestural", "industrial", "objects", "structure", "vessels and containers" ]

null

false

20326 1284 10639 19508 19 7205 170

false

artwork

Acrylic paint on paper

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118,411

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999977, "shortTitle": "Chantrey Bequest" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,997

<a href="https://www.tate.org.uk/art/artists/dame-phyllida-barlow-dbe-ra-10908" aria-label="More by Dame Phyllida Barlow DBE RA" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Dame Phyllida Barlow DBE RA</a>

2,013

[]

Presented by the Trustees of the Chantrey Bequest 2012

T13834

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

7012026 7019073 7002445 7008591 7011781 7008136

Dame Phyllida Barlow DBE RA

1,997

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false

1

https://media.tate.org.u…13/T13834_10.jpg

10908

paper unique acrylic paint

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Untitled

1,997

Tate

c.1997–9

CLEARED

5

unconfirmed: 389 × 562 mm

accessioned work

Tate

Presented by the Trustees of the <a href="/search?gid=999999977" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Chantrey Bequest</a> 2012

[]

[ "abstraction", "Barlow, Phyllida, sculpture", "bundle", "emotions, concepts and ideas", "fine art and design, named works", "formal qualities", "from recognisable sources", "gestural", "irregular forms", "man-made", "miscellaneous", "non-representational", "objects" ]

null

false

20326 8493 10639 189 19508 796 222 287 185

false

artwork

Acrylic paint on paper

[ { "append_role_to_name": false, "date": "1944–2023", "fc": "Dame Phyllida Barlow DBE RA", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/dame-phyllida-barlow-dbe-ra-10908" } ]

118,412

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999977, "shortTitle": "Chantrey Bequest" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,997

<a href="https://www.tate.org.uk/art/artists/dame-phyllida-barlow-dbe-ra-10908" aria-label="More by Dame Phyllida Barlow DBE RA" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Dame Phyllida Barlow DBE RA</a>

2,013

[]

Presented by the Trustees of the Chantrey Bequest 2012

T13835

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

7012026 7019073 7002445 7008591 7011781 7008136

Dame Phyllida Barlow DBE RA

1,997

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false

1

https://media.tate.org.u…13/T13835_10.jpg

10908

paper unique acrylic paint

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Untitled

1,997

Tate

1997

CLEARED

5

support: 379 × 561 mm

accessioned work

Tate

Presented by the Trustees of the <a href="/search?gid=999999977" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Chantrey Bequest</a> 2012

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[ "abstraction", "Barlow, Phyllida, sculpture", "bundle", "emotions, concepts and ideas", "fine art and design, named works", "formal qualities", "from recognisable sources", "gestural", "irregular forms", "man-made", "miscellaneous", "non-representational", "objects" ]

null

false

20326 8493 10639 189 19508 796 222 287 185

false

artwork

Acrylic paint on paper

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118,413

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1,997

<a href="https://www.tate.org.uk/art/artists/dame-phyllida-barlow-dbe-ra-10908" aria-label="More by Dame Phyllida Barlow DBE RA" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Dame Phyllida Barlow DBE RA</a>

2,013

[]

Presented by the Trustees of the Chantrey Bequest 2012

T13836

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

7012026 7019073 7002445 7008591 7011781 7008136

Dame Phyllida Barlow DBE RA

1,997

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false

1

https://media.tate.org.u…13/T13836_10.jpg

10908

paper unique acrylic paint

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Untitled

1,997

Tate

1997

CLEARED

5

support: 591 × 835 mm frame: 670 × 913 × 25 mm

accessioned work

Tate

Presented by the Trustees of the <a href="/search?gid=999999977" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Chantrey Bequest</a> 2012

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false

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artwork

Acrylic paint on paper

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118,414

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1,997

<a href="https://www.tate.org.uk/art/artists/dame-phyllida-barlow-dbe-ra-10908" aria-label="More by Dame Phyllida Barlow DBE RA" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Dame Phyllida Barlow DBE RA</a>

2,013

[]

Presented by the Trustees of the Chantrey Bequest 2012

T13837

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

7012026 7019073 7002445 7008591 7011781 7008136

Dame Phyllida Barlow DBE RA

1,997

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Drawing is important in Barlow’s practice, and central to an understanding of her sculptural work. These drawings span a period of more than twenty years. They embody the same ambiguous nature as Barlow’s sculptures and represent the range of her sculptural vocabulary, which includes racks, arenas, greengrocer’s crates, crumpled canvases, strange furniture wrapped around with soft materials, and the layering, accumulation and juxtaposition of ambiguous objects and shapes. Made with thick, gestural brushstrokes, the drawings retain spontaneity of feeling and vitality. Across the group, similar marks are repeated and developed, suggesting solid forms and hinting at familiar shapes.Gallery label, October 2013

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Untitled

1,997

Tate

1997

CLEARED

5

support: 640 × 897 mm

accessioned work

Tate

Presented by the Trustees of the <a href="/search?gid=999999977" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Chantrey Bequest</a> 2012

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[ "abstraction", "Barlow, Phyllida, sculpture", "body", "emotions, concepts and ideas", "figure", "fine art and design, named works", "formal qualities", "from recognisable sources", "geometric", "gestural", "head / face", "non-representational", "objects", "people" ]

null

false

20326 93 221 10639 189 226 19508 615 185

false

artwork

Acrylic paint on paper

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118,416

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1,999

<a href="https://www.tate.org.uk/art/artists/dame-phyllida-barlow-dbe-ra-10908" aria-label="More by Dame Phyllida Barlow DBE RA" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Dame Phyllida Barlow DBE RA</a>

2,013

[]

Presented by the Trustees of the Chantrey Bequest 2012

T13838

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

7012026 7019073 7002445 7008591 7011781 7008136

Dame Phyllida Barlow DBE RA

1,999

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Drawing is important in Barlow’s practice, and central to an understanding of her sculptural work. These drawings span a period of more than twenty years. They embody the same ambiguous nature as Barlow’s sculptures and represent the range of her sculptural vocabulary, which includes racks, arenas, greengrocer’s crates, crumpled canvases, strange furniture wrapped around with soft materials, and the layering, accumulation and juxtaposition of ambiguous objects and shapes. Made with thick, gestural brushstrokes, the drawings retain spontaneity of feeling and vitality. Across the group, similar marks are repeated and developed, suggesting solid forms and hinting at familiar shapes.Gallery label, October 2013

false

1

https://media.tate.org.u…13/T13838_10.jpg

10908

paper unique acrylic paint

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Untitled

1,999

Tate

1999

CLEARED

5

unconfirmed: 637 × 897 mm

accessioned work

Tate

Presented by the Trustees of the <a href="/search?gid=999999977" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Chantrey Bequest</a> 2012

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[ "abstraction", "architecture", "Barlow, Phyllida, sculpture", "emotions, concepts and ideas", "fine art and design, named works", "formal qualities", "from recognisable sources", "gestural", "industrial", "man-made", "objects", "structure" ]

null

false

20326 10639 189 19508 19 222 7205

false

artwork

Acrylic paint on paper

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118,418

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999977, "shortTitle": "Chantrey Bequest" }, { "id": 999999956, "shortTitle": "Collection" } ]

2,003

<a href="https://www.tate.org.uk/art/artists/dame-phyllida-barlow-dbe-ra-10908" aria-label="More by Dame Phyllida Barlow DBE RA" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Dame Phyllida Barlow DBE RA</a>

2,013

[]

Presented by the Trustees of the Chantrey Bequest 2012

T13839

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

7012026 7019073 7002445 7008591 7011781 7008136

Dame Phyllida Barlow DBE RA

2,003

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false

1

https://media.tate.org.u…13/T13839_10.jpg

10908

paper unique acrylic paint

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Untitled

2,003

Tate

2003

CLEARED

5

support: 560 × 762 mm

accessioned work

Tate

Presented by the Trustees of the <a href="/search?gid=999999977" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Chantrey Bequest</a> 2012

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null

false

20326 10639 189 226 19 222 70 185 1810 7205

false

artwork

Acrylic paint on paper

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118,421

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2,003

<a href="https://www.tate.org.uk/art/artists/dame-phyllida-barlow-dbe-ra-10908" aria-label="More by Dame Phyllida Barlow DBE RA" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Dame Phyllida Barlow DBE RA</a>

2,013

[]

Presented by the Trustees of the Chantrey Bequest 2012

T13840

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

7012026 7019073 7002445 7008591 7011781 7008136

Dame Phyllida Barlow DBE RA

2,003

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Drawing is important in Barlow’s practice, and central to an understanding of her sculptural work. These drawings span a period of more than twenty years. They embody the same ambiguous nature as Barlow’s sculptures and represent the range of her sculptural vocabulary, which includes racks, arenas, greengrocer’s crates, crumpled canvases, strange furniture wrapped around with soft materials, and the layering, accumulation and juxtaposition of ambiguous objects and shapes. Made with thick, gestural brushstrokes, the drawings retain spontaneity of feeling and vitality. Across the group, similar marks are repeated and developed, suggesting solid forms and hinting at familiar shapes.Gallery label, October 2013

false

1

https://media.tate.org.u…13/T13840_10.jpg

10908

paper unique acrylic paint

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Untitled

2,003

Tate

2003

CLEARED

5

support: 558 × 760 mm

accessioned work

Tate

Presented by the Trustees of the <a href="/search?gid=999999977" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Chantrey Bequest</a> 2012

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[ "abstraction", "architecture", "Barlow, Phyllida, sculpture", "emotions, concepts and ideas", "fine art and design, named works", "formal qualities", "from recognisable sources", "gestural", "industrial", "irregular forms", "man-made", "non-representational", "objects", "structure" ]

null

false

20326 10639 189 19508 19 796 222 185 7205

false

artwork

Acrylic paint on paper

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118,424

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999977, "shortTitle": "Chantrey Bequest" }, { "id": 999999956, "shortTitle": "Collection" } ]

2,004

<a href="https://www.tate.org.uk/art/artists/dame-phyllida-barlow-dbe-ra-10908" aria-label="More by Dame Phyllida Barlow DBE RA" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Dame Phyllida Barlow DBE RA</a>

2,013

[]

Presented by the Trustees of the Chantrey Bequest 2012

T13841

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

7012026 7019073 7002445 7008591 7011781 7008136

Dame Phyllida Barlow DBE RA

2,004

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Drawing is important in Barlow’s practice, and central to an understanding of her sculptural work. These drawings span a period of more than twenty years. They embody the same ambiguous nature as Barlow’s sculptures and represent the range of her sculptural vocabulary, which includes racks, arenas, greengrocer’s crates, crumpled canvases, strange furniture wrapped around with soft materials, and the layering, accumulation and juxtaposition of ambiguous objects and shapes. Made with thick, gestural brushstrokes, the drawings retain spontaneity of feeling and vitality. Across the group, similar marks are repeated and developed, suggesting solid forms and hinting at familiar shapes.Gallery label, October 2013

false

1

https://media.tate.org.u…13/T13841_10.jpg

10908

paper unique acrylic paint

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Untitled

2,004

Tate

2004

CLEARED

5

support: 380 × 566 mm

accessioned work

Tate

Presented by the Trustees of the <a href="/search?gid=999999977" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Chantrey Bequest</a> 2012

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[ "abstraction", "architecture", "Barlow, Phyllida, sculpture", "emotions, concepts and ideas", "fine art and design, named works", "formal qualities", "from recognisable sources", "gestural", "industrial", "man-made", "natural phenomena", "objects", "shadow", "structure" ]

null

false

20326 10639 189 19508 19 222 70 1810 7205

false

artwork

Acrylic paint on paper

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118,425

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2,006

<a href="https://www.tate.org.uk/art/artists/dame-phyllida-barlow-dbe-ra-10908" aria-label="More by Dame Phyllida Barlow DBE RA" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Dame Phyllida Barlow DBE RA</a>

2,013

[]

Presented by the Trustees of the Chantrey Bequest 2012

T13842

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

7012026 7019073 7002445 7008591 7011781 7008136

Dame Phyllida Barlow DBE RA

2,006

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false

1

https://media.tate.org.u…13/T13842_10.jpg

10908

paper unique acrylic paint

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Untitled

2,006

Tate

2006

CLEARED

5

support: 560 × 762 mm frame: 634 × 839 × 25 mm

accessioned work

Tate

Presented by the Trustees of the <a href="/search?gid=999999977" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Chantrey Bequest</a> 2012

[]

[ "abstraction", "Barlow, Phyllida, sculpture", "fine art and design, named works", "gestural", "irregular forms", "non-representational", "objects" ]

null

false

20326 10639 227 796 185

false

artwork

Oil paint on canvas

[ { "append_role_to_name": false, "date": "1938–2018", "fc": "Per Kirkeby", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/per-kirkeby-2238" } ]

118,428

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1,978

<a href="https://www.tate.org.uk/art/artists/per-kirkeby-2238" aria-label="More by Per Kirkeby" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Per Kirkeby</a>

Composition

2,013

[]

Presented by Jytte Dresing, The Merla Art Foundation, Dresing Collection 2012

T13845

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

7003474 7018281 1000066

Per Kirkeby

1,978

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Composition is a large abstract oil painting made up of swathes of sombre colours that have been layered over the canvas in an expressive manner. Dark greys swirl around the edges of the work, while a large area of pale grey occupies the centre alongside patches of green, white and peach, which complement areas of mustard yellow and umber in the bottom centre. The paint has been applied in a loose, gestural way and its surface has a coarse, fractured appearance that is heightened by the thinness of the paint layers.

false

1

https://media.tate.org.u…13/T13845_10.jpg

2238

painting oil paint canvas

[]

Composition

1,978

Tate

1978

CLEARED

6

frame: 2093 × 1679 × 32 mm

accessioned work

Tate

Presented by Jytte Dresing, The Merla Art Foundation, Dresing Collection 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nComposition is a large abstract oil painting made up of swathes of sombre colours that have been layered over the canvas in an expressive manner. Dark greys swirl around the edges of the work, while a large area of pale grey occupies the centre alongside patches of green, white and peach, which complement areas of mustard yellow and umber in the bottom centre. The paint has been applied in a loose, gestural way and its surface has a coarse, fractured appearance that is heightened by the thinness of the paint layers.\nThis work was produced by the Danish artist Per Kirkeby in 1978, one year after he began to work with oil paint, his work until that point having predominantly consisted of mixed media on masonite boards. Like Kirkeby’s other works in oil, Composition was created by building up many layers of paint. This is an extremely time-consuming process and finishing these works can take him up to one year. Art historian Siegfried Gohr has observed that when making oil paintings, Kirkeby has often used a palette knife to add and remove paint, resulting in a ‘brittle, apparently laborious paint application, scratched, incised, engraved like an oversized etching plate’ (Siegfried Gohr, On Per Kirkeby, Berlin 2008, p.28) and this appears to be the case with Composition. Gohr also notes that combined with the large amount of time that Kirkeby spends on these paintings, which is evident in their many visible layers, their heavily scratched surfaces serve to emphasise ‘the physical act of painting’ (Gohr 2008, p.28).\nThe title of this work, Composition, could be taken as a reference to the artist’s efforts in composing it, or simply as a straightforward description of the resulting object. It therefore seems designed to discourage the viewer from finding any subject matter in the work beyond its nature as a composed painting. However, Kirkeby’s title might also lead viewers to consider this work within the broader history of modern abstraction, since the word ‘composition’ is very common in the titles of major abstract works from the twentieth century, including paintings by Kazimir Malevich (1879–1935), Franz Marc (1880–1916) and Piet Mondrian (1872–1944). The artist has often insisted on the abstract nature of his works and has refused to explain them in terms of broader themes, stating that ‘I am a painter and I have painted a painting. And I really don’t want to say anything more about it. A picture is not decided by title or explanations – one has to put up with having to “look” at it’ (quoted in Tate Modern 2009, p.13).\nDespite the artist’s frequent insistence on the abstract nature of his canvases, critics have often connected works like Composition with natural themes and especially geology, which Kirkeby studied in the 1950s and 1960s before starting his artistic training. For instance, the curator Klaus Ottmann has described the layers in Kirkeby’s paintings as ‘geological strata’ (quoted in Philips Collection 2012, p.1) and curator Jill Lloyd has argued that his works are informed by memories of the landscape in Greenland, which he visited on field trips while a geology student (Tate Gallery 1997, pp.10–12). Kirkeby’s reaction to these suggestions has been ambivalent. In a 2012 interview he said ‘I wouldn’t emphasise geology too much … I maintain that my paintings are not landscapes. They do not even have a landscape feeling. They are constructed’ (Kirkeby in Philips Collection 2012, pp.29, 37). However, in one of his essays Kirkeby uses the geological term ‘sedimentation’ to describe his practice of layering paint and acknowledges that this process can be seen as a visual ‘metaphor’ for geological phenomena (Per Kirkeby and Asger Schnack (ed.), Writings on Art, trans. by Martin Aitken, Putnam 2012, p.76).\nKirkeby has stated that many of his works from this period were motivated by an interest in differences in the way that colour is experienced in painting and in nature. In 1978, the same year that he made Composition, Kirkeby wrote that ‘The colors in nature are in constant flow’, but painters ‘try to make our colors stable’, ‘to halt the stream … [or] interrupt the moment’ (Kirkeby and Schnack 2012, p.28). This contrast appears to be present in Composition, in which Kirkeby’s extremely dry-looking paint gives the impression of a substance that has hardened onto the canvas, but the work also produces a sense of movement and duration in the loose quality of its gestural paint and the way that the different layers of colour break through each other, revealing earlier parts of the painting process.\n\nFurther reading\n \nPer Kirkeby, exhibition catalogue, Tate Gallery, London 1997. \nPer Kirkeby, exhibition catalogue, Tate Modern, London 2009. \nPer Kirkeby: Paintings and Sculpture, exhibition catalogue, Phillips Collection, Washington D.C. 2012.\nLucy Watling December 2013\n\nSupported by Christie’s.\n\n</div>\n", "display_name": "Summary", "publication_date": "2015-03-09T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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

null

false

225 227 185

false

artwork

Video, 2 projections, black and white and sound

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118,429

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2,005

<a href="https://www.tate.org.uk/art/artists/gulsun-karamustafa-15930" aria-label="More by Gulsun Karamustafa" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Gulsun Karamustafa</a>

Memory a Square

2,013

[]

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

T13846

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

7002473 1000144 1000004

Gulsun Karamustafa

2,005

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Memory of a Square is a double-screen projection video installation. One screen shows a series of eleven episodes narrating the history of a fictional family over three generations in their domestic environment. The second shows documentary film footage and photographs, taken from various sources between 1930 and 1980, of everyday and political activity in Taksim Square in central Istanbul. Although both are black and white the videos contrast in other ways, for instance the domestic scenes are filmed almost exclusively with a stationary camera, while the documentary footage uses numerous different camera angles as well as fading, panning and the super-imposition of images to move between different scenes. The soundtrack for each video combines classical piano with ambient background noise, including the intermittent sound of a crowd. The fictional narrative in the first video contains no dialogue, therefore the actions and emotions of the family are displayed though the actors’ gestures and expressions. Occasionally a photograph or image from the documentary footage appears in the domestic scene, indicating a correlation between the public and private events and linking the two videos together.

false

1

https://media.tate.org.u…13/T13846_10.jpg

15930

installation video 2 projections black white sound

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Memory of a Square

2,005

Tate

2005

CLEARED

3

duration: 17min Overall display dimensions variable

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\nMemory of a Square is a double-screen projection video installation. One screen shows a series of eleven episodes narrating the history of a fictional family over three generations in their domestic environment. The second shows documentary film footage and photographs, taken from various sources between 1930 and 1980, of everyday and political activity in Taksim Square in central Istanbul. Although both are black and white the videos contrast in other ways, for instance the domestic scenes are filmed almost exclusively with a stationary camera, while the documentary footage uses numerous different camera angles as well as fading, panning and the super-imposition of images to move between different scenes. The soundtrack for each video combines classical piano with ambient background noise, including the intermittent sound of a crowd. The fictional narrative in the first video contains no dialogue, therefore the actions and emotions of the family are displayed though the actors’ gestures and expressions. Occasionally a photograph or image from the documentary footage appears in the domestic scene, indicating a correlation between the public and private events and linking the two videos together.\nMemory, both individual and collective, is a central theme in Karamustafa’s work. It is understood by the artist as a flexible concept with which to mediate and interweave the history of Turkey with her personal biography. Between 1960 and 1980 Turkey underwent three military coups and a state of socio-political flux, which Karamustafa was an enforced witness to as she was prevented by the government from leaving the country from 1971 until 1986. Memory of a Square highlights the public and private aspects of these occurrences, with one video set in the public site of the square and another in the home. The different narratives and formal elements suggest the differences between historical record and personal experience, while the similarities and overlapping images reveal the impact of one on the other. The title of the work refers directly to the history of Taksim Square in Istanbul and its place in the history of the city as a meeting point for both daily life and political action. However, Karamustafa draws on the fact that the main square in many cities often becomes the focus of political demonstration and action and, despite the installation’s reference to Turkey, it could equally represent the history of countries such as Argentina, Spain, China or, more recently Egypt, which have undergone similar instances of political unrest. Karamustafa purposefully does not dictate a specific place or time for the domestic scenes, leaving it open to interpretation by the viewer (in conversation with Tate curator Kyla McDonald, April 2010). She avoids making direct statements about political events and has commented:\n\n<blockquote>for me to be able to carry out my work, the subject has to be distilled; this is what protects me from giving direct messages, and from staying in the shallows. It took 27 years before one of my photographs related to the 1971 military coup could appear in a work of art: and it was only two years ago that the film ‘Memory of a Square’ had matured to my satisfaction after 10 years of consideration. (Quoted in Heinrich 2007, p.7.)</blockquote>\nAfter studying painting in Istanbul Karamustafa has, since 2000, worked primarily in video since, although continuing to create an extensive body of work in various media including textiles, painting, sculpture and installation. In Memory of a Square Karamustafa uses filmic techniques characteristic of her work – such as double screen projection, edited found footage and staged, near-theatrical settings – interspersing fictionalised narratives with historical events to create a non-narrative film that exposes the viewer to the subjective trauma of historical unrest.\n\nFurther reading\n Barbara Heinrich, Gulsun Karamustafa: My Roses My Reveries, Istanbul 2007, pp.110–12. Gulsun Karamustafa and Melih Fereli, ‘Interview with Melih Fereli’, in Barbara Heinrich, Gulsun Karamustafa: My Roses My Reveries, Istanbul 2007, pp.7–9.\nKyla McDonald August 2011\n</div>\n", "display_name": "Summary", "publication_date": "2016-06-09T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "adults", "architecture", "cities, towns, villages (non-UK)", "countries and continents", "emotions and human qualities", "emotions, concepts and ideas", "family", "family", "formal qualities", "history", "history", "Istanbul, Taksim Square", "Japan", "man", "memory", "people", "photographic", "places", "politics and society", "protests and unrest: Taksim Square massacre, 1 May 1977", "society", "square", "townscapes / man-made features", "universal concepts", "woman" ]

null

false

31 6904 6907 3647 3201 195 6852 9328 38 1048 30 167

false

artwork

4 aluminium pixel boxes with dmx control box, lighting system, electrical components and cables

[ { "append_role_to_name": false, "date": "born 1966", "fc": "Angela Bulloch", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/angela-bulloch-9058" } ]

118,433

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

2,012

<a href="https://www.tate.org.uk/art/artists/angela-bulloch-9058" aria-label="More by Angela Bulloch" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Angela Bulloch</a>

Aluminium 4

2,013

[]

Purchased with assistance from Simon and Carine Lee and a private donor 2013

T13848

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

7003712 7008591 7013154 7005685

Angela Bulloch

2,012

[]

Bulloch’s pixel boxes have been programmed to change colour according to a complex mathematical system devised by the artist. The arrangement of the boxes refers back to the geometric forms often associated with 1960s sculpture. However, the electronic lighting element means that the work – and the viewer’s response to it – changes over time.Gallery label, October 2016

false

1

https://media.tate.org.u…13/T13848_10.jpg

9058

installation 4 aluminium pixel boxes dmx control box lighting system electrical components cables

[ { "artistRoomsTour": false, "dateText": "10 June 2016 – 16 October 2016", "endDate": "2016-10-16", "exhibitionLegs": [ { "dateText": "10 June 2016 – 16 October 2016", "endDate": "2016-10-16", "id": 10302, "startDate": "2016-06-10", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 8503, "startDate": "2016-06-10", "title": "Between Object and Architecture - West", "type": "Collection based display" }, { "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" }, { "artistRoomsTour": false, "dateText": "25 January 2022 – 29 August 2022", "endDate": "2022-08-29", "exhibitionLegs": [ { "dateText": "10 January 2022 – 4 July 2022", "endDate": "2022-07-04", "id": 13670, "startDate": "2022-01-10", "venueName": "Kunsthalle Praha (Prague, Czech Republic)", "venueWebsiteUrl": null } ], "id": 11280, "startDate": "2022-01-25", "title": "Kinetismus - 100 Years of Art and Electricity", "type": "Loan-out" } ]

Aluminium 4

2,012

Tate

2012

CLEARED

3

Overall display dimensions variable

accessioned work

Tate

Purchased with assistance from Simon and Carine Lee and a private donor 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nAngela Bulloch’s Aluminium 4 comprises four ‘pixel boxes’ placed on the floor in a single, regularly spaced line. The pixel box is a sculptural unit which brings together the minimalist cube with a programmable light system capable of producing over sixteen million colour permutations. A little behind and to the right of these boxes sits a slightly smaller control box, which is connected to the other components by black electrical cabling. The colours of the boxes shift and mutate according to an algorithmic programme written by Bulloch. Since her Prototypes exhibition in 2000 at Galerie Eva Presenhuber in Zurich, Bulloch has been making increasingly ambitious sculptural installations using pixel boxes.\nWhether shown individually, in groups, or presented in grid form, Bulloch’s pixel boxes make a formal reference to minimalism. Aluminium 4 is one of a number of works made using copper or aluminium – in each case the material of the title is that which provides the casing – that, through an additional material dimension, extend the relationship to the minimalist sculptures of American artists Donald Judd (1928–1994), Dan Flavin (1933–1996) and Carl Andre (born 1935). Bulloch’s use of aluminium in this work makes reference to works such as Judd’s one hundred untitled works in aluminium in the Chinati Foundation’s permanent collection in Texas, or to other aluminium works by Judd such as his stack sculpture Untitled 1980 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/judd-untitled-t03087\" title=\"View the details of this artwork\">T03087</a>). Aluminium 4 is closely related to another of Bulloch’s pixel box works, Copper 4 2010, which differs only in the material used for the boxes and the control programme that operates them.\nSince the early 1990s Bulloch has been making immaculately fabricated installations which include elements that that can be activated by the viewer or that are modified by the passing of time. The human presence is often crucial to the way in which her work functions. Bulloch uses technology as a tool and subject matter, and she draws on its possibilities to explore how systems influence human preferences and exert control over human behaviour or potential for action. Arrangements of four components are a recurring aspect within Bulloch’s work, both in pixel box works such as this one and in other works like West Ham: Sculpture for Football Songs 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/bulloch-west-ham-sculpture-for-football-songs-t12307\" title=\"View the details of this artwork\">T12307</a>), which features four Belisha beacons.\n\nFurther reading\n \n<a href=\"http://www.amazon.co.uk/s/ref=ntt_athr_dp_sr_1?_encoding=UTF8&search-alias=books-uk&field-author=Helmut%20Draxler\">Helmut Draxler</a>, <a href=\"http://www.amazon.co.uk/s/ref=ntt_athr_dp_sr_2?_encoding=UTF8&search-alias=books-uk&field-author=Branden%20W.%20Joseph\">Branden W. Joseph</a> and <a href=\"http://www.amazon.co.uk/s/ref=ntt_athr_dp_sr_3?_encoding=UTF8&search-alias=books-uk&field-author=Juliane%20Rebentisch\">Juliane Rebentisch</a>, Prime Numbers: Angela Bulloch, Cologne 2006.\nHelen Delaney October 2011\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\">\nBulloch’s pixel boxes have been programmed to change colour according to a complex mathematical system devised by the artist. The arrangement of the boxes refers back to the geometric forms often associated with 1960s sculpture. However, the electronic lighting element means that the work – and the viewer’s response to it – changes over time.\n</div>\n", "display_name": "Display caption", "publication_date": "2016-10-12T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[]

null

false

artwork

Film, super 8mm, shown as video, 10 monitors, colour and audio, 4 channels, lights

[ { "append_role_to_name": false, "date": "born 1949", "fc": "Charles Atlas", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/charles-atlas-15557" } ]

118,434

[ { "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" } ]

1,971

<a href="https://www.tate.org.uk/art/artists/charles-atlas-15557" aria-label="More by Charles Atlas" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Charles Atlas</a>

Joints 4tet Ensemble

2,013

[]

Purchased with funds provided by the American Fund for the Tate Gallery 2013

T13849

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

7012149 7022240 7007523

Charles Atlas

1,971

[]

Joints 4tet Ensemble 1971–2010 is a set of nine films originally shot on Super 8 colour film in 1971. It depicts close-ups of choreographer Merce Cunningham’s joints – ankles, knees, elbows and wrists – edited into four synced channels, choreographed across ten monitors and accompanied by an ambient soundtrack by the composer John Cage. The ten monitors are of different sizes and types and are installed on a rectangular black floor area and mounted on steel mono-stands and rolling carts, forming a sculpture of electronic ready-mades, arranged like a group of people in a crowd. Atlas originally considered the film footage a sketch, only editing and constructing it for installation in 2010. The artist has an unrivalled archive of unedited footage of Cunningham, alongside other key choreographers such as Michael Clark, which he is continually revisiting.

false

1

https://media.tate.org.u…13/T13849_10.jpg

15557

installation film super 8mm shown as video 10 monitors colour audio 4 channels lights

[ { "artistRoomsTour": false, "dateText": "10 June 2016 – 1 June 2017", "endDate": "2017-06-01", "exhibitionLegs": [ { "dateText": "10 June 2016 – 1 June 2017", "endDate": "2017-06-01", "id": 10234, "startDate": "2016-06-10", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 8450, "startDate": "2016-06-10", "title": "Charles Atlas and Shunk Kender Archive", "type": "Collection based display" } ]

Joints 4tet Ensemble

1,971

Tate

1971–2010

CLEARED

3

duration: 13min, 12sec

accessioned work

Tate

Purchased with funds provided 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> 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nJoints 4tet Ensemble 1971–2010 is a set of nine films originally shot on Super 8 colour film in 1971. It depicts close-ups of choreographer Merce Cunningham’s joints – ankles, knees, elbows and wrists – edited into four synced channels, choreographed across ten monitors and accompanied by an ambient soundtrack by the composer John Cage. The ten monitors are of different sizes and types and are installed on a rectangular black floor area and mounted on steel mono-stands and rolling carts, forming a sculpture of electronic ready-mades, arranged like a group of people in a crowd. Atlas originally considered the film footage a sketch, only editing and constructing it for installation in 2010. The artist has an unrivalled archive of unedited footage of Cunningham, alongside other key choreographers such as Michael Clark, which he is continually revisiting.\nThe title Joints 4tet Ensemble refers to the elements that the piece is composed from: film portraits of Cunningham’s joints were edited into a four channel ‘quartet’, played (out of sync) on the multiple monitors, as a visual equivalent of a classical music ensemble, accompanied by four channels of collaged sound. These are re-workings of ambient sound recordings made by John Cage in the 1980s while on his travels across the globe with Cunningham, during their own long-term collaboration. The soundtrack is representative of Cage’s use of ambient sound as material, an idea he set forth in the seminal work 4’33” 1952, where the score instructs the performer not to play the piece in front of them, but to remain silent for four minutes and thirty three seconds, forcing the audience to listen to the sounds of the environment around them.\n\n<blockquote>Atlas first filmed Cunningham’s work in the 1960s, beginning a lifelong relationship that resulted in a body of work that captured Cunningham’s choreography and his unique persona on film. As such, Joints 4tet Ensemble is a significant work, as it embodies the intimacy of their relationship through the focus on Cunningham’s joints, forming an alternative portrait of the choreographer. The work also relates to earlier pieces that Atlas created with Cunningham which highlighted parts of his distinctive body, for example Fractions I and Fractions II 1977–8, alongside their larger collaborative works of performances, ranging from Torse 1977, an early split-screen 16 mm film of Cunningham’s company performing, to Pond Way 1998, which includes a pointillist backdrop by painter Roy Lichtenstein and a score by Brian Eno. Yet Joints 4tet Ensemble is particularly significant as, rather than a record of Cunningham’s dance company, it is a study of the detail of form and movement of a human body (Cunningham’s) that formed a new choreographic language. As such, it is a work that embodies a number of important cross-disciplinary artistic collaborations of the twentieth century, while also demonstrating Atlas’s intuitive understanding of how bodies inhabit space and perspective, something that is fundamental to all his work.</blockquote>\nAtlas has been producing films since the mid-1970s and has consistently experimented with new technologies, creating works that range from structurally formal film to highly theatrical and experimental pieces. He has collaborated with many artists and choreographers, including Merce Cunningham, Michael Clark, Leigh Bowery, Marina Abramovic, Yvonne Rainer and Nam June Paik.\n\nFurther reading\n Nancy Becker, ‘Filming Cunningham Dance’, Dance Theatre Journal, Spring 1983, pp.21–5. Matthew Yokobosky, ‘The Real Charles Atlas: An Interview’, Performing Arts Journal, September 1997, pp.21–33. Colin Perry, ‘Charles Atlas’, Frieze, 26 November 2008, <a href=\"http://www.frieze.com/shows/review/charles_atlas/\">http://www.frieze.com/shows/review/charles_atlas/</a>, accessed 4 April 2011.\nKathy Noble April 2011\n</div>\n", "display_name": "Summary", "publication_date": "2016-06-20T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[]

null

false

artwork

Video, projection, colour and sound

[ { "append_role_to_name": false, "date": "born 1966", "fc": "Douglas Gordon", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/douglas-gordon-2617" } ]

118,436

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999777, "shortTitle": "Artangel Collection at Tate" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,999

<a href="https://www.tate.org.uk/art/artists/douglas-gordon-2617" aria-label="More by Douglas Gordon" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Douglas Gordon</a>

Feature Film

2,013

[]

Presented by the artist and Artangel 2012. The Artangel Collection at Tate

T13851

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

42801

7017283 7019097 7002444 7008591

Douglas Gordon

1,999

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Feature Film is a video installation by the Scottish artist Douglas Gordon. It is comprised of two large wall projections showing the same closely cropped footage of a conductor’s hands and face. The projections, measuring at least 3 x 5.5 m, are shown on opposing walls in a blacked-out room, with one image flipped horizontally so that the images mirror one another. The film was made in super 16 mm before being blown up to 35 mm. The soundtrack of the film, which consists of the music that the subject is conducting, is played at high volume.

false

1

https://media.tate.org.u…13/T13851_10.jpg

2617

installation video projection colour sound

[ { "artistRoomsTour": false, "dateText": "29 April 2019 – 5 September 2019", "endDate": "2019-09-05", "exhibitionLegs": [ { "dateText": "29 April 2019 – 5 September 2019", "endDate": "2019-09-05", "id": 13012, "startDate": "2019-04-29", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 10714, "startDate": "2019-04-29", "title": "Douglas Gordon", "type": "Collection based display" } ]

Feature Film

1,999

Tate

1999

CLEARED

3

duration: 80min

accessioned work

Tate

Presented by the artist and Artangel 2012. The <a href="/search?gid=999999777" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Artangel Collection at Tate</a>

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nFeature Film is a video installation by the Scottish artist Douglas Gordon. It is comprised of two large wall projections showing the same closely cropped footage of a conductor’s hands and face. The projections, measuring at least 3 x 5.5 m, are shown on opposing walls in a blacked-out room, with one image flipped horizontally so that the images mirror one another. The film was made in super 16 mm before being blown up to 35 mm. The soundtrack of the film, which consists of the music that the subject is conducting, is played at high volume.\nThe conductor depicted in the film is James Conlon, who was Music Director at the Opéra National de Paris at the time that the work was made. In Feature Film he interprets the full soundtrack written by composer Bernard Hermann for the film Vertigo (1958), directed by Alfred Hitchcock. When Hermann’s soundtrack was originally issued by Mercury Records in 1958 to accompany the film’s release, it contained only thirty-four minutes of the eighty minutes of music featured in the film. Conlon’s recording is the only one to date to feature the entire suite as written by Hermann. The score, which echoes the Liebestod from Richard Wagner’s 1859 opera Tristan und Isolde, opens with a portentous two-note falling motif; a musical imitation of the notes emitted by the foghorns on either side of San Francisco’s Golden Gate Bridge. This bridge features in the film as the site where the character played by actor Kim Novak jumps into the bay. The dialogue in Vertigo is sparse, and Hitchcock relied on Hermann’s score throughout the film to drive the narrative.\nGordon made two continuous recordings of Conlon while he conducted the score, one filmed with three semi-fixed cameras and the other with two constantly moving films. When edited, this footage was cut into a study of the conductor’s body and face, sketching his gestures and creating intense close-ups of his lips, hands and bulging eyes. The rhythm of the cuts in the film was determined by the rhythm of the score. Gordon divorces the sound that the viewer hears from the sight of the orchestra creating it, instead focusing on the conductor’s body, which reinforces the visceral nature of the music. This effect has been observed by curator Nancy Spector: ‘Splitting the image from the orchestra, by splitting sound from image, Gordon teases forth the soul of the movie – which finds expression in Hermann’s ever-circular labyrinth of a score – and gives it new life’ (quoted in Brown 2004, p.90). Vertigo was the first film to use dolly zoom (an in-camera effect that warps perspective and disorientates the viewer) and Gordon pays homage to this in Feature Film with his own use of distorted perspective.\nGordon has long been fascinated by Hitchcock’s work. In 24 Hour Psycho 1993 (Kunstmuseum Wolfsburg, Wolfsburg) he slowed down Hitchcock’s thriller Psycho 1960 from the usual twenty-four frames per second to two frames per second, thus extending its running time from 109 minutes to twenty four hours. His impetus for exploring Hitchcock’s Vertigo was the power of the film’s score, as he has recorded: ‘Between 1993 and 1997–8 most of my video and film work was silent and this unbearable silence was what got me interested in looking specifically at the musical or audio component that had already been used in the film’ (quoted in Brown 2004, p.91). Two versions of Feature Film exist. The one in Tate’s collection depicts Conlon conducting Hermann’s score straight through. The other version mirrors the use of Hermann’s score in Vertigo itself; when there was no soundtrack in the film the projection in Gordon’s work goes black, and a monitor showing a muted version of Vertigo is installed at an oblique angle.\nGordon is represented in Tate’s collection by several other works, including the video installations Play Dead; Real Time (this way, that way, the other way) 2003 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/gordon-play-dead-real-time-this-way-that-way-the-other-way-al00339\" title=\"View the details of this artwork\">AL00339</a>) and A Divided Self I and A Divided Self II 1996 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/gordon-a-divided-self-i-and-a-divided-self-ii-ar01179\" title=\"View the details of this artwork\">AR01179</a>). Like these works, Feature Film seeks to unsettle the viewer, disturbing their perspective on something they may have considered fixed. As the artist has stated:\n\n<blockquote>While you might be looking at my Feature Film, you’re always conscious that this is music from another film … there’s an image in front of your eyes and an image inside your head. There’s maybe some kind of conflict between the two and that conflict is what I would call an interesting game to play. (Quoted in Brown 2004, p.93.)</blockquote>\n\nFurther reading\n Jennifer Higgie, ‘Douglas Gordon’, Frieze, vol.48, September–October 1999, <a href=\"http://www.frieze.com/issue/review/douglas_gordon/\">http://www.frieze.com/issue/review/douglas_gordon/</a>, accessed 5 March 2016. James Lingwood and Michael Morris (eds.), Off Limits: 40 Artangel Projects, London 2002. Katrina M. Brown, Douglas Gordon, London 2004.\nPhoebe Roberts March 2016\n</div>\n", "display_name": "Summary", "publication_date": "2017-08-10T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "arts and entertainment", "body", "cinema", "conductor", "Conlon, James", "emotions, concepts and ideas", "film: Hitchcock, Alfred, ‘Vertigo’, 1958", "film, music and ballet", "formal qualities", "hand", "leisure and pastimes", "literature and fiction", "music", "music and entertainment", "music: ‘Hermann, Bernard, ‘Vertigo’ film score, 1958", "named individuals", "opera: Wagner, Richard, ‘Tristan und Isolde’, 1857-1865", "people", "photographic", "sound", "work and occupations" ]

null

false

118 93 5483 4816 10058 1079 10065 53 30757 9328 17314

false

artwork

Cellophane, paint, sellotape, plaster powder, powder paint, sugar paper, chalk, bath bombs, ribbon and wood

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118,437

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2,011

<a href="https://www.tate.org.uk/art/artists/karla-black-11563" aria-label="More by Karla Black" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Karla Black</a>

At Fault

2,013

[]

Purchased with assistance from Outset Contemporary Art Fund 2013

T13852

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

7017283 1050367 7019098 7002444 7008591

Karla Black

2,011

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At Fault is a large, floor-based sculpture that was made for Karla Black’s exhibition at the 54th Venice Biennale in 2011 where she represented Scotland. Large quantities of crumpled sugar paper billow across the floor with a softness that is suggestive of twisting folds of fabric. The paper is covered in a vigorous application of chalk in different pastel shades typically associated with prettiness. The chalked surfaces merge with scattered powder paint on the floor so that there is an uncertainty about where the solidity of the sculpture ends. Despite the sense of movement in the piece and its insistent, almost visceral presence, the work oscillates between materiality and immateriality.

false

1

https://media.tate.org.u…13/T13852_10.jpg

11563

installation cellophane paint sellotape plaster powder sugar paper chalk bath bombs ribbon wood

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At Fault

2,011

Tate

2011

CLEARED

3

Overall display dimensions variable

accessioned work

Tate

Purchased with assistance from Outset Contemporary Art Fund 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nAt Fault is a large, floor-based sculpture that was made for Karla Black’s exhibition at the 54th Venice Biennale in 2011 where she represented Scotland. Large quantities of crumpled sugar paper billow across the floor with a softness that is suggestive of twisting folds of fabric. The paper is covered in a vigorous application of chalk in different pastel shades typically associated with prettiness. The chalked surfaces merge with scattered powder paint on the floor so that there is an uncertainty about where the solidity of the sculpture ends. Despite the sense of movement in the piece and its insistent, almost visceral presence, the work oscillates between materiality and immateriality.\nThis combination of ethereal lightness with an uncompromising materiality lies at the heart of Karla Black’s work. Her work falls mainly, although not exclusively, into three groups: hanging pieces, such as Vanity Matters 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/black-vanity-matters-t13282\" title=\"View the details of this artwork\">T13282</a>), expansive floor-based works made of such materials as earth and powder, and works made from crumpled, billowing paper and cellophane, such as At Fault. Sugar paper, polythene and plaster powder dominate her work, but Black also often includes basic toiletry substances that make reference to the body, such as athlete’s foot powder, talcum powder, petroleum jelly, lipstick, nail varnish, glitter hairspray, moisturising cream and make-up.\nBlack has acknowledged that her sculptures are rooted in a number of art historical antecedents, as well as in her interest in psychoanalytical theory, particularly the work of Melanie Klein (1882–1960) who pioneered early developments in child psychology. She has said of her work:\n\n<blockquote>The sculptures are rooted in Psychoanalysis and Feminism; in theories about the violent and sexual underpinnings of both individual mental mess, as in neuroses and psychosis, and the formlessness of specific points in art history, i.e. German and Abstract Expressionism, Viennese Actionism, Land Art, Anti-form and Feminist Performance. (Quoted in ‘Karla Black Speaks About Her Work’, <a href=\"http://www.scottisharts.org.uk/1/artsinscotland/visualarts/projects/projectsarchive/karlablack.aspx\">http://www.scottisharts.org.uk/1/artsinscotland/visualarts/projects/projectsarchive/karlablack.aspx</a>, accessed 8 June 2010.)</blockquote>\n\nFurther reading\n Michael Archer, ‘Michael Archer on Karla Black’, Artforum, vol.46, no.7, March 2008, pp.342–4. ‘Interview: Karla Black and Michael Stanley, Director, Modern Art Oxford’, in Karla Black, exhibition guide, Modern Art Oxford 2010. \nKarla Black: Scotland + Venice 2011, The Fruitmarket Gallery, Edinburgh 2011, reproduced pp.4–11.\nHelen Delaney August 2011\n</div>\n", "display_name": "Summary", "publication_date": "2018-02-01T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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null

false

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false

artwork

Ceramic and gold

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118,440

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1,985

<a href="https://www.tate.org.uk/art/artists/andrew-lord-7268" aria-label="More by Andrew Lord" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Andrew Lord</a>

Three Vases Fist

2,013

[]

Purchased with assistance from the Karpidas Family (Tate Americas Foundation) 2013

T13853

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Andrew Lord

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1

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7268

sculpture ceramic gold

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Three Vases. Fist

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Tate

1985–6

CLEARED

8

object: 368 × 267 × 260 mm object: 483 × 260 × 254 mm object: 286 × 292 × 273 mm

accessioned work

Tate

Purchased with assistance from the Karpidas Family (Tate Americas Foundation) 2013

[]

[ "ceramics", "emotions, concepts and ideas", "formal qualities", "gestural", "objects", "vase", "vessels and containers" ]

null

false

42814 19508 1461 170

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artwork

Ceramic, epoxy, gold leaf, encre de chine and oak table

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118,455

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1,996

<a href="https://www.tate.org.uk/art/artists/andrew-lord-7268" aria-label="More by Andrew Lord" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Andrew Lord</a>

biting

2,013

[]

Purchased with assistance from the Karpidas Family (Tate Americas Foundation) 2013

T13854

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7010541 1003634 7002445 7008591

Andrew Lord

1,996

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Lord uses clay to create what he calls ‘process sculptures’. His earlier works employed fairly conventional ideas of making ceramic vessels through a use of modelling or pressing and squeezing, but this two-part work explores the relationship of the body to the act of making. He works to objectify gestures that might communicate the senses, as biting is a physical act that also communicates taste. He has explained how using his body as a tool ‘became a way of identifying and isolating senses and sensations and a way to assemble a catalogue of my physical self, a record of my physical memory.’Gallery label, September 2016

false

1

https://media.tate.org.u…13/T13854_10.jpg

7268

sculpture ceramic epoxy gold leaf encre de chine oak table

[]

biting

1,996

Tate

1996–8

CLEARED

8

object: 705 × 470 × 450 mm object: 747 × 440 × 440 mm

accessioned work

Tate

Purchased with assistance from the Karpidas Family (Tate Americas Foundation) 2013

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null

false

42814 82 19508 84 14338 826

false

artwork

Ceramic, epoxy, gold leaf, encre de chine and oak table

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118,456

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1,996

<a href="https://www.tate.org.uk/art/artists/andrew-lord-7268" aria-label="More by Andrew Lord" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Andrew Lord</a>

breathing

2,013

[]

Purchased with assistance from the Karpidas Family (Tate Americas Foundation) 2013

T13855

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

7010541 1003634 7002445 7008591

Andrew Lord

1,996

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false

1

https://media.tate.org.u…13/T13855_10.jpg

7268

sculpture ceramic epoxy gold leaf encre de chine oak table

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breathing

1,996

Tate

1996–2000

CLEARED

8

object: 408 × 205 × 200 mm object: 930 × 915 × 910 mm

accessioned work

Tate

Purchased with assistance from the Karpidas Family (Tate Americas Foundation) 2013

[]

[ "ceramics", "cup / mug", "emotions, concepts and ideas", "formal qualities", "furnishings", "kitchen", "objects", "table", "vase", "vessels and containers" ]

null

false

42814 19657 82 84 826 1461 170

false

artwork

Ceramic, silver and epoxy

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118,457

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2,004

<a href="https://www.tate.org.uk/art/artists/andrew-lord-7268" aria-label="More by Andrew Lord" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Andrew Lord</a>

Gauguin

2,013

[]

Purchased with assistance from the Karpidas Family (Tate Americas Foundation) 2013

T13856

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

7010541 1003634 7002445 7008591

Andrew Lord

2,004

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1

https://media.tate.org.u…13/T13856_10.jpg

7268

sculpture ceramic silver epoxy

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Untitled (from the Gauguin Series)

2,004

Tate

2004–12

CLEARED

8

object: 410 × 317 × 394 mm

accessioned work

Tate

Purchased with assistance from the Karpidas Family (Tate Americas Foundation) 2013

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null

false

42814 221 189 19508 2076 170

false

artwork

Film, 16mm, 2 projections, black and white, smoke and sound (mono)

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118,458

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1,975

<a href="https://www.tate.org.uk/art/artists/lis-rhodes-16111" aria-label="More by Lis Rhodes" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Lis Rhodes</a>

Light Music

2,013

[]

Presented by Tate Members 2012

T13857

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

32886

7011781 7008136 7002445 7008591

Lis Rhodes

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1

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16111

installation film 16mm 2 projections black white smoke sound mono

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Light Music

1,975

Tate

1975

CLEARED

3

duration: 25min

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

[]

[ "electrical appliances", "emotions, concepts and ideas", "formal qualities", "light", "natural phenomena", "objects", "projector", "shadow" ]

null

false

81 12083 70 13199 1810

false

artwork

Ceramic

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118,469

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1,978

<a href="https://www.tate.org.uk/art/artists/andrew-lord-7268" aria-label="More by Andrew Lord" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Andrew Lord</a>

Coffee service and tray Impressionist set

2,013

[]

Presented by the artist in honour of Pauline Karpidas 2013

T13858

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

7010541 1003634 7002445 7008591

Andrew Lord

1,978

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false

1

https://media.tate.org.u…13/T13858_10.jpg

7268

sculpture ceramic

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Coffee service and tray. Impressionist set

1,978

Tate

1978

CLEARED

8

object: 57 × 57 × 105 mm object: 64 × 108 × 70 mm object: 171 × 152 × 95 mm object: 203 × 108 × 86 mm object: 235 × 187 × 130 mm object: 320 × 286 mm

accessioned work

Tate

Presented by the artist in honour of Pauline Karpidas 2013

[]

[ "ceramics", "coffee pot", "cup / mug", "domestic", "emotions, concepts and ideas", "formal qualities", "gestural", "jug", "kitchen", "objects", "tray", "vessels and containers" ]

null

false

42814 1649 19657 83 19508 2076 84 4673 170

false

artwork

Video, multiple projections, sound and smoke

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118,471

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2,000

<a href="https://www.tate.org.uk/art/artists/tony-oursler-2366" aria-label="More by Tony Oursler" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Tony Oursler</a>

Influence Machine

2,013

[]

Presented by the artist and Artangel 2012. The Artangel Collection at Tate

T13860

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

7007567 7014683 7007568 7012149

Tony Oursler

2,000

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The Influence Machine is a multimedia installation which is staged outdoors. The work is comprised of seven video projections, each with its own audio track. The videos are projected onto a building and the trees that surround it. In addition, smoke machines are used to create a mass of smoke, onto which a video of a medium is projected. This medium speaks a garbled set of sentences in which it attempts to contact the technological pioneers Edward Gaspard Robertson and John Logie Baird. The other video projections include a talking light, a chorus singing and a technician’s hand. A further video projects intimate and cryptic texts vertically along the trunk of a tree, while the audio channels include sections of radio feedback and the sound of Morse code being transmitted. The installation fuses the work with the urban environment in which it is staged, spilling out into the city as the smoke diffuses. These deliberately blurred parameters encourage the viewer to move through the work, experiencing its different elements, and encountering the built environment in a different way.

false

1

https://media.tate.org.u…13/T13860_10.jpg

2366

installation video multiple projections sound smoke

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The Influence Machine

2,000

Tate

2000

CLEARED

3

Overall display dimensions variable

accessioned work

Tate

Presented by the artist and Artangel 2012. The <a href="/search?gid=999999777" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Artangel Collection at Tate</a>

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nThe Influence Machine is a multimedia installation which is staged outdoors. The work is comprised of seven video projections, each with its own audio track. The videos are projected onto a building and the trees that surround it. In addition, smoke machines are used to create a mass of smoke, onto which a video of a medium is projected. This medium speaks a garbled set of sentences in which it attempts to contact the technological pioneers Edward Gaspard Robertson and John Logie Baird. The other video projections include a talking light, a chorus singing and a technician’s hand. A further video projects intimate and cryptic texts vertically along the trunk of a tree, while the audio channels include sections of radio feedback and the sound of Morse code being transmitted. The installation fuses the work with the urban environment in which it is staged, spilling out into the city as the smoke diffuses. These deliberately blurred parameters encourage the viewer to move through the work, experiencing its different elements, and encountering the built environment in a different way.\nMade in 2000 and first staged in New York’s Madison Square Park and London’s Soho Square, The Influence Machine was Oursler’s first outdoor video installation and included a specially commissioned score by experimental composer Tony Conrad. Inspired in its form by son-et-lumiere animations of historic sights and historical phantasmagoria, Oursler’s work explores the moment immediately after an invention in which the use of a given technology has not yet been codified by society. The Influence Machine also examines the psychological effects of what Oursler calls ‘mimetic’ technology. As he has explained:\n\n<blockquote>I borrowed the term ‘mimetic’ from pharmacology, where it is used to describe that class of drugs which mimics psychological states or provokes heightened states of consciousness. In the same way, or perhaps even more effectively, technology creates a dream space that mimics reality. (Quoted in Artangel 2000, p.56.)</blockquote>\nThe technological inventions explored in The Influence Machine range from discoveries made in the eighteenth century to those made in the twenty-first. The work derives its title from one of the earliest inventions referenced: Francis Hauksbee’s 1706 ‘Influencing Machine’ in which a hand-crank would spin a glass vacuum glove half full of air. This created a mysterious luminosity that had no practical application, but became popular as people associated it with talismanic powers. The work is also named The Influence Machine after a psychological condition of the same name identified by psychoanalyst Viktor Tausk in 1919, in which the patient sees their body as an ever changing machine.\n\nThe Influence Machine also explores the viewer’s interaction with contemporary inventions. The audio for the talking light video channel is connected to a dedicated website, on which people can feed messages. In the Soho Square presentation this resulted in ‘declarations of love, imperatives, hellos, laments. Some kids typed in their messages then came to the park to hear it broadcast’ (quoted in Artangel 2000, p.60). In this way, the viewer of the work becomes further immersed in the machine of the installation.\nOursler has been interested in unconscious influence since early in his practice. This is apparent in other works by the artist in Tate’s collection, such as the installations Autochthonous AAAAHHHH 1995 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/oursler-autochthonous-aaaahhhh-t07056\" title=\"View the details of this artwork\">T07056</a>) and The Most Beautiful Thing I’ve Never Seen 1995 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/oursler-the-most-beautiful-thing-ive-never-seen-t06989\" title=\"View the details of this artwork\">T06989</a>). As the writer Marina Warner observed, Oursler’s creation of large-scale immersive environments absorbs the viewer and reveals the influences to which they are unwittingly subjected:\n\n<blockquote>Oursler isn’t claiming to be a magus. He’s a child of the Seventies, of the television age, the same age as systems such as cable and satellite and the web. The polyphonic aural universe fascinates Oursler ... In his art, he listens in and collects evidence of the senses in the altered conditions of consciousness that now prevail. (Marina Warner ‘“Ourself Behind Ourself”: Ethereal Whispers from the Dark Side’, in Artangel 2000, p.72.)</blockquote>\n\nFurther reading\n \nTony Oursler: The Influence Machine, exhibition catalogue, Artangel, London 2000. James Lingwood and Michael Morris (eds.), Off Limits: 40 Artangel Projects, London 2002. Denis Gielen (ed.) Tony Oursler/Vox Vernacular, New Haven 2014.\nPhoebe Roberts March 2016\n</div>\n", "display_name": "Summary", "publication_date": "2017-08-10T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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null

false

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artwork

Oil paint on canvas

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118,472

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1,948

<a href="https://www.tate.org.uk/art/artists/hedda-sterne-16798" aria-label="More by Hedda Sterne" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Hedda Sterne</a>

NY NY X

2,013

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Presented by Clara Diament Sujo 2012

T13861

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

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Hedda Sterne

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NY, NY No. X is a prime example of Sterne’s works from the late 1940s. As the title suggests, her subject was the bridges and the elevated railways of New York City, which she abstracted into a mass of lines and planes. After arriving from war-torn Europe in 1941, Sterne became associated with the emerging generation of American painters. She was famously the only woman – alongside Jackson Pollock, Mark Rothko and others – in Nina Leen’s 1951 Life magazine photograph of ‘The Irascibles’, abstract artists objecting to the conservatism of the Metropolitan Museum of Art.Gallery label, October 2016

false

1

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16798

painting oil paint canvas

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NY, NY No. X

1,948

Tate

1948

CLEARED

6

support: 835 × 1185 mm

accessioned work

Tate

Presented by Clara Diament Sujo 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nNY, NY No. X 1948 is an oil painting by the Romanian-American artist Hedda Sterne. It shows a semi-abstract mass of lines and planes that appear to depict rooftops, walls, fences, ladders, fire escapes, towers, wood panels and other constructions against a bright blue background, the colour of the New York sky of the painting’s title. The blue and brown tones are punctuated by three small vertical bright red strips and several black and white strips, like pedestrian crossings viewed from above. The painting is one of a number of ‘New York, New York’ paintings and is characteristic of Sterne’s work of the late 1940s, when she was exploring her urban environment.\nBorn in Romania, Sterne fled Europe in 1941 and moved to New York. She stated:\n\n<blockquote>When I came here, I became totally enthralled visually with the United States so I became like a premature pop artist. I started painting my kitchen, the kitchen stove, the bathroom appliances, everything where we lived. Then I went out and I painted Ford cars and the elevators. And then I went to the country and I started painting industrial machines, and then I painted roads. I became visual when I came here. (Quoted in Krannert Art Museum 2006, p.16.)</blockquote>\nIn 1947 she made a trip to Vermont where she encountered farm machinery, inspiring a series of paintings she termed ‘anthropographs’ (machines with human qualities). In the early 1950s she expanded her ‘New York, New York’ series, using a spray gun to apply paint to the canvas. Discussing these works, she explained: ‘It is about New York – New York seemed to me at the time like a gigantic carousel in continuous motion – on many levels – lines approaching swiftly and curving back again forming an intricate ballet of reflections and sounds’ (quoted in Krannert Art Museum 2006, p.17).\nSterne’s paintings were included in the exhibition First Papers of Surrealism, curated by the artists Marcel Duchamp and André Breton in New York in 1942. She exhibited at Peggy Guggenheim’s Art of This Century gallery in New York and was given a solo show by Betty Parsons in 1943. Through Parsons she became friends with the abstract expressionists. Sterne was one of the artists of the New York School known as the ‘Irascibles’, who protested against the Metropolitan Museum of Art’s policy on American painting of the 1940s and who were famously photographed for Life magazine in 1951. She is notably the only woman in this picture.\n\nFurther reading\n \nHedda Sterne: Forty Years, exhibition catalogue, Queens Museum, New York 1985. \nAbstrakter Expressionismus in Amerika, exhibition catalogue, Pfalzgalerie Kaiserslautern and Ulmer Museum, Kaiserslautern 2001. \nUninterrupted Flux: Hedda Sterne, A Retrospective, exhibition catalogue, Krannert Art Museum, Champaign 2006.\nAnn Coxon May 2012\n</div>\n", "display_name": "Summary", "publication_date": "2016-08-09T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nNY, NY No. X is a prime example of Sterne’s works from the late 1940s. As the title suggests, her subject was the bridges and the elevated railways of New York City, which she abstracted into a mass of lines and planes. After arriving from war-torn Europe in 1941, Sterne became associated with the emerging generation of American painters. She was famously the only woman – alongside Jackson Pollock, Mark Rothko and others – in Nina Leen’s 1951 Life magazine photograph of ‘The Irascibles’, abstract artists objecting to the conservatism of the Metropolitan Museum of Art.\n</div>\n", "display_name": "Display caption", "publication_date": "2016-10-12T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "abstraction", "architecture", "bridge", "bridges and viaducts", "cities, towns, villages (non-UK)", "countries and continents", "features", "from recognisable sources", "landscape", "man-made", "New York - non-specific", "places", "railway", "stair / step", "townscape", "townscapes / man-made features", "USA, New York" ]

null

false

945 15 17 189 223 222 5033 3244 587 983 16348

true

artwork

Wood, perspex, plaster, wire, tampons and human blood

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118,474

[ { "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/genesis-p-orridge-16646" aria-label="More by Genesis P-Orridge" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Genesis P-Orridge</a>

Venus Mound Tampax Romana

2,013

[]

Transferred from Tate Archive 2012

T13863

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

16666

7010477 1003619 7002445 7008591 7007568 7012149

Genesis P-Orridge

1,976

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Genesis P-Orridge is an artist, musician and poet who explores gender and sexuality. They founded confrontational performance art collective COUM Transmissions in Hull in 1969. COUM developed into influential industrial music band Throbbing Gristle. P-Orridge said this moved the art out of the gallery onto the street: ‘to test it out in the real world… a little mini-Dada movement, eh?’ P-Orridge self-identifies as ‘third gender’. This work was first exhibited at the controversial exhibition Prostitution at the ICA in London in 1976.Gallery label, July 2017

false

1

https://media.tate.org.u…13/T13863_10.jpg

16646

sculpture wood perspex plaster wire tampons human blood

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Venus Mound (from Tampax Romana)

1,976

Tate

1976

CLEARED

8

object: 305 × 305 × 135 mm

accessioned work

Tate

Transferred from Tate Archive 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nVenus Mound (from Tampax Romana) 1976 presents a half-figure, painted plaster statuette of a woman whose head, arms and breasts have been mutilated. From the stumps of her arms two wires extend upwards, from which hang two used tampons. The statuette sits in a box with a white interior and black exterior. This boxed work is one of four that make up the Tampax Romana series. The other three are It’s That Time of the Month (from Tampax Romana) 1975 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/p-orridge-its-that-time-of-the-month-from-tampax-romana-t13864\" title=\"View the details of this artwork\">T13864</a>), Larvae (from Tampax Romana) 1975 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/p-orridge-larvae-from-tampax-romana-t13865\" title=\"View the details of this artwork\">T13865</a>) and Living Womb (from Tampax Romana) 1976 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/p-orridge-living-womb-from-tampax-romana-t13866\" title=\"View the details of this artwork\">T13866</a>). Each work in the series contains a tableau of objects in which used tampons are placed in different, punning arrangements. They are displayed in the same large boxes and inscribed with the title and date and signed by the artist. All four were exhibited at the Institute of Contemporary Arts (ICA) in London in 1976. Accessioned into Tate Archive in 2008, they were transferred into the main collection in 2012.\nThis use of found materials to create assemblages that combine wordplay with arresting images owes much to Genesis P-Orridge’s knowledge of the Fluxus movement that had informed his earlier development as an artist at the end of the 1960s. In 1973 he had taken part in the touring manifestation Fluxshoe that had reintroduced Britain to Fluxus. In an interview in 2002 P-Orridge described how the Tampax Romana works were ‘Fluxus sort of sculptures that I made at the last minute because there was space left in the wall … I just thought they were throwaway jokes.’ (Genesis P-Orridge, ‘Annihilating Reality’, in Metzger 2002, p.151.) This use of humour had been an essential aspect of Fluxus – something that one of the founding members of the movement George Maciunas defined as ‘the fusion of Spike Jones, Vaudeville, gag, children’s games and Duchamp’ (George Maciunas, ‘Fluxus’, Tulane Drama Review, vol.10, no.2, Winter 1965, p.100a) – and remained so for P-Orridge in his work.\nThe Tampax Romana works were included in the exhibition event Prostitution at the ICA in October 1976. The series was made by P-Orridge using the artist’s collaborator Cosey Fanni Tutti’s used tampons. Fanni Tutti and P-Orridge, along with Peter Christopherson, made up the performance group COUM Transmissions, although the Prostitution exhibition publicly marked their mutation into the noise band Throbbing Gristle (which included P-Orridge, Fanni Tutti and Christopherson as well as Chris Carter). Prostitution was ironically billed as COUM’s retrospective and included a range of photographs documenting COUM actions and performances alongside objects and performance relics left over from these events. The theme of transformation and time-passing in the Tampax Romana series, as well as the invocation of fertility and reproduction in the use of tampons, relate both to the retrospective and the transformation of the group into a noise band. The exhibition opening coincided with the official unveiling of Throbbing Gristle (its actual debut had been at the AIR Gallery, London on 6 July 1976), playing on the same bill as the punk band Chelsea performing under the pseudonym LSD. Instead of the wine and quiet chatter that ordinarily typifies such exhibition openings, there was beer, transvestite security guards, a striptease dancer and an obscene comedian. The press release declared that ‘For us the party on the opening night is the key to our stance, the most important performance’. (Quoted in Ford 1999, p.6.19.)\nThe exhibition generated a media uproar that led to questions in Parliament about the use of public funding for the arts. The Tory MP Nicholas Fairburn attended the opening and described what he experienced as ‘a sickening outrage. Sadistic. Obscene. Evil … Public money is being wasted here to destroy the morality of our society. These people are the wreckers of civilisation.’ (Quoted in Daily Mail, 19 October 1976, cited in Ford 1999, p.6.22.) This debate built on the negative reaction in the popular press to the previous exhibition at the ICA of Mary Kelly’s Post Partum Document 1973–9 (see Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kelly-post-partum-document-documentation-iii-analysed-markings-and-diary-perspective-t03925\" title=\"View the details of this artwork\">T03925</a>), as well as the furore over the Tate Gallery’s purchase of Carl Andre’s ‘brick’ work 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/andre-equivalent-viii-t01534\" title=\"View the details of this artwork\">T01534</a>) that had broken out some months earlier. The vitriol within the press against Prostitution was fuelled in the main both by Fanni Tutti’s magazine actions (the presentation of pornography within an art gallery and away from the context of top-shelf pornographic magazines was deemed wholly unacceptable) and by the display of used tampons, both among the presentation of performance props and in the series of Tampax Romana works. This reaction was a key aim for Prostitution as an exercise in shock and media critique, so much so that the press reaction was displayed in the gallery, forming a major part of the exhibition.\nTampons had become an important aspect of the visual iconography COUM had been developing in their recent performances, and this was reflected by P-Orridge’s Tampax Romana sculptures. For instance, the centrepiece of the installation and performance Jusquà la balle crystal, presented as part of the Paris Biennale at the Musée d’Art Moderne in October 1975, was a transparent Perspex box filled with maggots and tampons; during the performance P-Orridge wielded two sticks, one of which had twenty-eight used and unused tampons suspended from it (this was also exhibited in Prostitution). As the critic Simon Ford observed, tampons were used ‘to invoke the rich magickal symbolism of menstruation and secondly to demystify an often repressed but significant part of woman’s experience’ (Ford 1999, p.5.21). Fanni Tutti explained that ‘via our performances we used to work out our own inhibitions, and this was one of them. It was quite a taboo to show or even admit that any woman used tampax or even went to the toilet.’ (Quoted in Ford 1999, p.5.21.) P-Orridge explained the identification of this taboo in his description of Venus Mound to the critic Jon Savage in the late 1980s: ‘A Venus de Milo that we’d found somewhere on a rubbish tip, a small plaster cast, like … art. The arms were broken off even more than normal, and the bits of wire were exposed. So I hung one used tampax on each arm. So, here is the beautiful woman of art, but she still has periods.’ (Jon Savage, ‘Interview with Genesis P-Orridge’, in Tate St Ives 2009, p.155.) Throbbing Gristle’s first album, The Best of Throbbing Gristle Volume 2 (first released on cassette in 1976), was originally to have been titled Dry Blood Tampax.\n\nFurther reading\n Simon Ford, Wreckers of Civilisation: The Story of COUM Transmissions and Throbbing Gristle, London 1999. Genesis P-Orridge, ‘Annihilating Reality’, in Richard Metzger (ed.), Disinformation: The Interviews, New York 2002, pp.150–4. Jon Savage, ‘Interview with Genesis P-Orridge’, previously unpublished extract in The Dark Monarch, Magic and Modernity in British Art, exhibition catalogue, Tate St Ives, St Ives 2009, pp.154–6.\nAndrew Wilson March 2012\n</div>\n", "display_name": "Summary", "publication_date": "2018-03-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nGenesis P-Orridge is an artist, musician and poet who explores gender and sexuality. They founded confrontational performance art collective COUM Transmissions in Hull in 1969. COUM developed into influential industrial music band Throbbing Gristle. P-Orridge said this moved the art out of the gallery onto the street: ‘to test it out in the real world… a little mini-Dada movement, eh?’ P-Orridge self-identifies as ‘third gender’. This work was first exhibited at the controversial exhibition Prostitution at the ICA in London in 1976.\n</div>\n", "display_name": "Online caption", "publication_date": "2017-07-07T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstraction", "actions: postures and motions", "adults", "arm / arms raised", "box", "clothing and personal items", "display case / vitrine", "figure", "from recognisable sources", "furnishings", "objects", "people", "tampon", "vessels and containers", "woman" ]

null

false

92 1050 1284 88 1985 221 189 82 850 170 167

false

artwork

Wood, perspex, clock case, tampons and human blood

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118,475

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

1,975

<a href="https://www.tate.org.uk/art/artists/genesis-p-orridge-16646" aria-label="More by Genesis P-Orridge" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Genesis P-Orridge</a>

Its That Time Month Tampax Romana

2,013

[]

Transferred from Tate Archive 2012

T13864

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

16666

7010477 1003619 7002445 7008591 7007568 7012149

Genesis P-Orridge

1,975

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Genesis P-Orridge is an artist, musician and poet who explores gender and sexuality. They founded confrontational performance art collective COUM Transmissions in Hull in 1969. COUM developed into influential industrial music band Throbbing Gristle. P-Orridge said this moved the art out of the gallery onto the street: ‘to test it out in the real world… a little mini-Dada movement, eh?’ P-Orridge self-identifies as ‘third gender’. This work was first exhibited at the controversial exhibition Prostitution at the ICA in London in 1976.Gallery label, July 2017

false

1

https://media.tate.org.u…13/T13864_10.jpg

16646

sculpture wood perspex clock case tampons human blood

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It’s That Time Of The Month (from Tampax Romana)

1,975

Tate

1975

CLEARED

8

object: 305 × 305 × 135 mm

accessioned work

Tate

Transferred from Tate Archive 2012

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nIt’s That Time of the Month (from Tampax Romana) 1975 comprises a white painted clock case in a large box with a white interior and black exterior. The clock’s mechanism has been removed and the case is filled instead with used tampons visible through the circular glass-covered aperture that would ordinarily have revealed the clock face. This boxed work is one of four that make up the Tampax Romana series. The other three are Venus Mound (from Tampax Romana) 1976 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/p-orridge-venus-mound-from-tampax-romana-t13863\" title=\"View the details of this artwork\">T13863</a>), Larvae (from Tampax Romana) 1975 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/p-orridge-larvae-from-tampax-romana-t13865\" title=\"View the details of this artwork\">T13865</a>) and Living Womb (from Tampax Romana) 1976 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/p-orridge-living-womb-from-tampax-romana-t13866\" title=\"View the details of this artwork\">T13866</a>). Each work in the series contains a tableau of objects in which used tampons are placed in different, punning arrangements. They are displayed in the same large boxes and inscribed with the title and date and signed by the artist. All four were exhibited at the Institute of Contemporary Arts (ICA) in London in 1976. Accessioned into Tate Archive in 2008, they were transferred into the main collection in 2012.\nThis use of found materials to create assemblages that combine wordplay with arresting images owes much to Genesis P-Orridge’s knowledge of the Fluxus movement that had informed his earlier development as an artist at the end of the 1960s. In 1973 he had taken part in the touring manifestation Fluxshoe that had reintroduced Britain to Fluxus. In an interview in 2002 P-Orridge described how the Tampax Romana works were ‘Fluxus sort of sculptures that I made at the last minute because there was space left in the wall … I just thought they were throwaway jokes.’ (Genesis P-Orridge, ‘Annihilating Reality’, in Metzger 2002, p.151.) This use of humour had been an essential aspect of Fluxus – something that one of the founding members of the movement George Maciunas defined as ‘the fusion of Spike Jones, Vaudeville, gag, children’s games and Duchamp’ (George Maciunas, ‘Fluxus’, Tulane Drama Review, vol.10, no.2, Winter 1965, p.100a) – and remained so for P-Orridge in his work.\nThe Tampax Romana works were included in the exhibition event Prostitution at the ICA in October 1976. The series was made by P-Orridge using the artist’s collaborator Cosey Fanni Tutti’s used tampons. Fanni Tutti and P-Orridge, along with Peter Christopherson, made up the performance group COUM Transmissions, although the Prostitution exhibition publicly marked their mutation into the noise band Throbbing Gristle (which included P-Orridge, Fanni Tutti and Christopherson as well as Chris Carter). Prostitution was ironically billed as COUM’s retrospective and included a range of photographs documenting COUM actions and performances alongside objects and performance relics left over from these events. The theme of transformation and time-passing in the Tampax Romana series, as well as the invocation of fertility and reproduction in the use of tampons, relate both to the retrospective and the transformation of the group into a noise band. The exhibition opening coincided with the official unveiling of Throbbing Gristle (its actual debut had been at the AIR Gallery, London on 6 July 1976), playing on the same bill as the punk band Chelsea performing under the pseudonym LSD. Instead of the wine and quiet chatter that ordinarily typifies such exhibition openings, there was beer, transvestite security guards, a striptease dancer and an obscene comedian. The press release declared that ‘For us the party on the opening night is the key to our stance, the most important performance’. (Quoted in Ford 1999, p.6.19.)\nThe exhibition generated a media uproar that led to questions in Parliament about the use of public funding for the arts. The Tory MP Nicholas Fairburn attended the opening and described what he experienced as ‘a sickening outrage. Sadistic. Obscene. Evil … Public money is being wasted here to destroy the morality of our society. These people are the wreckers of civilisation.’ (Quoted in Daily Mail, 19 October 1976, cited in Ford 1999, p.6.22.) This debate built on the negative reaction in the popular press to the previous exhibition at the ICA of Mary Kelly’s Post Partum Document 1973–9 (see Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kelly-post-partum-document-documentation-iii-analysed-markings-and-diary-perspective-t03925\" title=\"View the details of this artwork\">T03925</a>), as well as the furore over the Tate Gallery’s purchase of Carl Andre’s ‘brick’ work 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/andre-equivalent-viii-t01534\" title=\"View the details of this artwork\">T01534</a>) that had broken out some months earlier. The vitriol within the press against Prostitution was fuelled in the main both by Fanni Tutti’s magazine actions (the presentation of pornography within an art gallery and away from the context of top-shelf pornographic magazines was deemed wholly unacceptable) and by the display of used tampons, both among the presentation of performance props and in the series of Tampax Romana works. This reaction was a key aim for Prostitution as an exercise in shock and media critique, so much so that the press reaction was displayed in the gallery, forming a major part of the exhibition.\nTampons had become an important aspect of the visual iconography COUM had been developing in their recent performances, and this was reflected by P-Orridge’s Tampax Romana sculptures. For instance, the centrepiece of the installation and performance Jusquà la balle crystal, presented as part of the Paris Biennale at the Musée d’Art Moderne in October 1975, was a transparent Perspex box filled with maggots and tampons; during the performance P-Orridge wielded two sticks, one of which had twenty-eight used and unused tampons suspended from it (this was also exhibited in Prostitution). As the critic Simon Ford observed, tampons were used ‘to invoke the rich magickal symbolism of menstruation and secondly to demystify an often repressed but significant part of woman’s experience’ (Ford 1999, p.5.21). Fanni Tutti explained that ‘via our performances we used to work out our own inhibitions, and this was one of them. It was quite a taboo to show or even admit that any woman used tampax or even went to the toilet.’ (Quoted in Ford 1999, p.5.21.) P-Orridge explained the identification of this taboo in his description of Venus Mound to the critic Jon Savage in the late 1980s: ‘A Venus de Milo that we’d found somewhere on a rubbish tip, a small plaster cast, like … art. The arms were broken off even more than normal, and the bits of wire were exposed. So I hung one used tampax on each arm. So, here is the beautiful woman of art, but she still has periods.’ (Jon Savage, ‘Interview with Genesis P-Orridge’, in Tate St Ives 2009, p.155.) Throbbing Gristle’s first album, The Best of Throbbing Gristle Volume 2 (first released on cassette in 1976), was originally to have been titled Dry Blood Tampax.\n\nFurther reading\n Simon Ford, Wreckers of Civilisation: The Story of COUM Transmissions and Throbbing Gristle, London 1999. Genesis P-Orridge, ‘Annihilating Reality’, in Richard Metzger (ed.), Disinformation: The Interviews, New York 2002, pp.150–4. Jon Savage, ‘Interview with Genesis P-Orridge’, previously unpublished extract in The Dark Monarch, Magic and Modernity in British Art, exhibition catalogue, Tate St Ives, St Ives 2009, pp.154–6.\nAndrew Wilson March 2012\n</div>\n", "display_name": "Summary", "publication_date": "2018-03-15T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nGenesis P-Orridge is an artist, musician and poet who explores gender and sexuality. They founded confrontational performance art collective COUM Transmissions in Hull in 1969. COUM developed into influential industrial music band Throbbing Gristle. P-Orridge said this moved the art out of the gallery onto the street: ‘to test it out in the real world… a little mini-Dada movement, eh?’ P-Orridge self-identifies as ‘third gender’. This work was first exhibited at the controversial exhibition Prostitution at the ICA in London in 1976.\n</div>\n", "display_name": "Online caption", "publication_date": "2017-07-07T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "abstraction", "clock", "clothing and personal items", "display case / vitrine", "from recognisable sources", "furnishings", "man-made", "objects", "scientific and measuring", "tampon" ]

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1886 88 1985 189 82 222 172 850

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artwork

Soap and glass beads

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118,486

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<a href="https://www.tate.org.uk/art/artists/mona-hatoum-2365" aria-label="More by Mona Hatoum" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Mona Hatoum</a>

Present Tense

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Presented by Tate Members 2013

T13867

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Mona Hatoum

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This olive oil soap is a traditional Palestinian product which has been produced since the 10th century in Nablus, a town north of Jerusalem. Mona Hatoum drew on the soap blocks by pushing tiny red glass beads into their surface. The drawing depicts the map of the 1993 Oslo Peace Accord between Israel and Palestine, with the beads outlining the territories to be handed back to the Palestinian authority. Hatoum highlights the fleeting impermanence of official borders, in contrast to the lasting history of the Palestinian people.Gallery label, February 2024

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sculpture soap glass beads

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Present Tense

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1996

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nPresent Tense 1996 is a floor-level sculpture made up of 2,200 square blocks of Nablus soap into which Hatoum has pressed tiny red beads. These create what initially looks like an abstract arrangement but is in fact an outline map of the Middle East. The beads delineate the map drawn up at the Oslo Peace Agreement of 1993 between Palestinian and Israeli authorities, to demarcate land to be ‘returned’ to Palestine. Made of pure olive oil, the soap is a traditional Palestinian product. This major industry originated in the city of Nablus in the tenth century and has continued to this day. Dotting this layer of creamy and semi-transparent soaps, Hatoum’s cartography highlights the ephemeral state of recent territorial re-mapping, while on the other hand reflecting the persistent and lasting history of the Palestinian people.\nThe work’s title reinforces both a sense of constantly shifting territories and the tensions arising from differing political agendas in the region. Curator Nina Zimmer has explained how the title unifies a number of contradictory aspects within the political situation: ‘It is capable of aptly characterising the relationships between the two parties. Not only does it play on the grammatical term “present tense” for the present, it also points to the prevailing “tense” situation. Furthermore, there are the associations with “present” which means both to give a gift and to present arms.’ (Nina Zimmer, ‘Epiphanies of the Everyday – Materiality and Meaning in Mona Hatoum’s Work’, in Mona Hatoum, exhibition catalogue, Hamburger Kunsthalle, Hamburg 2004, pp.70–1.)\nHatoum has explained:\n\n<blockquote>It’s really a map about dividing and controlling the area. At first sign of trouble, Israel practices the policy of ‘closure’; they close all the passages between the areas so that the Arabs are completely isolated and paralyzed … The Palestinians who came into the gallery recognised the smell and the material instantly. I saw the soap as a symbol of Palestinian resistance. The map looks like hundreds of little islands with no continuity or territorial integrity amongst them. (Mona Hatoum interviewed by Michael Archer, in Mona Hatoum, London 1997, pp.26–7.)</blockquote>\nThe sculpture was one of a number of works Hatoum exhibited in 1996 at the Anadiel Gallery, a Palestinian gallery in the Arab part of Jerusalem.\nMaps make frequent appearances in Hatoum’s work. Present Tense is an early example, which reflects the artist’s preoccupation with boundaries, borders and issues of containment. The work deals with political concerns within the Middle East, a fact reinforced by Hatoum’s personal history: the child of Palestinian parents living in Beirut, she was subsequently exiled by the outbreak of civil war while on a visit to London in 1975. However, the sculpture does not impart a single political message but rather explores the ambiguities and contradictions of power and oppression.\nThe use of the grid, the cube and the rectangle as formal devices underpins much of Hatoum’s art (see, for example, Incommunicado 1993, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hatoum-incommunicado-t06988\" title=\"View the details of this artwork\">T06988</a>). In the case of Present Tense, the grid reflects Hatoum’s interest in employing the formal symmetry of minimalist language and yet ‘unlike minimal objects, they are not self-referential’ (‘Mona Hatoum in Conversation with Janine Antoni’, Bomb, no.63, Spring 1998, p.57). Counterposed to the strict linearity of the grid of soap, the meandering line of the map introduces an organic or representational element, which gives the work its layers of association and ambivalence.\n\nFurther reading\n \nMona Hatoum: The Entire World as a Foreign Land, exhibition catalogue, Tate Britain, London 2000. \nMona Hatoum, exhibition catalogue, Hamburger Kunstalle, Hamburg 2004, pp.70–1, reproduced pp.68–9. Jaleh Mansoor, ‘Mona Hatoum’s Biopolitics of Abstraction’, October, vol.133, Summer 2010, pp.49–74.\nClarrie Wallis January 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-08-07T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThis olive oil soap is a traditional Palestinian product which has been produced since the 10th century in Nablus, a town north of Jerusalem. Mona Hatoum drew on the soap blocks by pushing tiny red glass beads into their surface. The drawing depicts the map of the 1993 Oslo Peace Accord between Israel and Palestine, with the beads outlining the territories to be handed back to the Palestinian authority. Hatoum highlights the fleeting impermanence of official borders, in contrast to the lasting history of the Palestinian people.\n</div>\n", "display_name": "Display caption", "publication_date": "2024-02-16T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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Gallery lighting

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Work 227 lights going on and off

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Purchased with funds provided by Tate Members, the Art Fund and Konstantin Grigorishin 2013

T13868

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Martin Creed

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Martin Creed’s Work No. 227: The lights going on and off consists of an empty room which is filled with light for five seconds and then plunged into darkness for five seconds. This pattern is repeated ad infinitum. In exploiting the existing light fittings of the gallery space, Creed creates a new and unexpected effect. An empty room with lighting that seems to be misbehaving itself confounds the viewer’s normal expectations. This work challenges the traditional conventions of museum or gallery display and, consequently, the visiting experience. Creed plays with the viewer’s sense of space and time and in so doing he implicates and empowers the viewer, forcing an awareness of, and interaction with, the physical actuality of the space. The work is simply titled ‘Work’ followed by a brief description and a number which forms part of the artist’s ongoing system for titling and cataloguing his work.

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Work No. 227: The lights going on and off

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nMartin Creed’s Work No. 227: The lights going on and off consists of an empty room which is filled with light for five seconds and then plunged into darkness for five seconds. This pattern is repeated ad infinitum. In exploiting the existing light fittings of the gallery space, Creed creates a new and unexpected effect. An empty room with lighting that seems to be misbehaving itself confounds the viewer’s normal expectations. This work challenges the traditional conventions of museum or gallery display and, consequently, the visiting experience. Creed plays with the viewer’s sense of space and time and in so doing he implicates and empowers the viewer, forcing an awareness of, and interaction with, the physical actuality of the space. The work is simply titled ‘Work’ followed by a brief description and a number which forms part of the artist’s ongoing system for titling and cataloguing his work.\nThis work emerges from the artist’s ongoing series of investigations into commonplace phenomena. His subtle interventions reintroduce the viewer to elements of the everyday. Creed’s choice and use of materials – plain A4 sheets of paper, blu-tak, masking tape, party balloons, simple or ‘unpoetic’ language as text or as lyrics to songs – is a thoughtful celebration of the ordinary, a focused reading of the ambiguity of everyday stuff.\nBy identifying his works primarily through a numbering system, Creed accords them equal status, regardless of size or material. He has said ‘I find that it’s difficult to choose, to decide that one thing’s more important than the other ... So what I try and do is to choose without having to make decisions.’ (Quoted in Buck 2000, p.111.) His idiosyncratic approach is born out of this refusal to make decisions and a playful concern with the conundrum of wanting both to make something and nothing: ‘the problem was to attempt to establish, amongst other things, what material something could be, what shape something could be, what size something could be, how something could be constructed, how something could be situated … how many of something there could be, or should be, if any, if at all.’ (Quoted in Virginia Button, The Turner Prize: Twenty Years, London 2003, p.172.) His interrogation of his own motives reveals an anxiety about ‘making something extra for the world’ (ibid.). The economy of means of Work No. 227 exemplifies Creed’s attempts to make work with minimal physical intervention. \n\nFurther reading \n Louisa Buck, ‘Martin Creed’, Artforum, vol.38, no.6, February 2000. \nMartin Creed, exhibition catalogue, Ikon, Birmingham 2008, p.44.\nHelen Delaney May 2010\n</div>\n", "display_name": "Summary", "publication_date": "2013-10-30T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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Oil paint on canvas

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Dancing Scene in Caribbean

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Purchased with assistance from Tate Patrons and Tate Members 2013

T13869

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Agostino Brunias

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This idealised scene shows mainly women of African and African European descent, both free and enslaved, dancing gracefully together. Agostino Brunias mainly painted such appealing images of plantation life for plantation owners and colonial administrators. Any reference to the forced labour and violence underpinning this is erased, as are his patrons’ roles in this oppression. Yet reading this picture against the grain reveals aspects of Black Caribbean culture. Details like the women’s clothing and African drum suggest this community’s agency, struggle for personhood, and resistance to slavery.Gallery label, April 2023

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Dancing Scene in the Caribbean

1,764

Tate

1764–96

CLEARED

6

unconfirmed: 508 × 660 mm frame: 637 × 788 × 65 mm

accessioned work

Tate

Purchased with assistance from <a href="/search?gid=999999780" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Tate Patrons</a> and <a href="/search?gid=999999973" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Tate Members</a> 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThis small and vividly coloured oil painting shows a predominantly female group of figures dancing in an open area of bare, sandy ground before two solidly-built two-storey buildings and a hilly, richly vegetated landscape, surmounted on the right by further solid-looking buildings, a thatched hut and a windmill. The setting is intended as the Caribbean, probably St Vincent or Dominica where the Italian-born artist Agostino Brunias was largely based from c.1764 until his death in 1796. Although the early ownership history of this work is not known, Brunias created such idealised views of life in the sugar colonies of the British West Indies to sell to plantation landowners and colonial administrators, although he also published prints in London and Paris which made his images more widely known.\nThe painting is typical of Brunias’s work, in showing a mixture of men and women from African and mixed African and European descent engaged in leisure-time activities in a public space. The scene therefore includes figures who would have been expected by contemporary viewers to be enslaved (the darker skinned men and women) intermingling with others of higher social status who might be free women of colour (the lighter–skinned women wearing more European-style costumes). The costumes of the figures also combine European and African elements (with turbans and headwraps in combination with corsets and shirts, and all the figures barefoot). Their dance appears to be a street dance on the move, accompanied by a small band moving with tambourines and triangles, perhaps the pre-Lent carnival traditionally known as a Masquerade or Mas’ which is still performed in Dominica.\nThe purported location of the scene portrayed in the present work can not, however, be confirmed. Brunias often grafted details, figures and even whole groups from one composition to another, even when they purported to represent different communities from separate islands. The present painting bears such a relationship to several extant prints and paintings by Brunias showing both St Vincent and Dominica. As with other images of life in the British West Indies by Brunias the major economic reason for colonisation and the creation of slave plantations in the Caribbean – the production of sugar and coffee – is not made explicitly visible (although the windmill and plantation buildings in the distance register that the land was being worked). Instead, we are treated to a scene of apparently free and independent leisure activity among the Black population. Brunias’s images of Caribbean life have been scrutinised closely as evidence of the complex and distorted European perspective on the slave plantations.\n\nFurther reading\n Beth Fowkes Tobin, Picturing Imperial Power: Colonial Subjects in Eighteenth-Century British Painting, Durham and London 1999, pp.139–73. Kay Dian Kriz, Slavery, Sugar, and the Culture of Refinement: Picturing the British West Indies 1700–1840, New Haven and London 2008, pp.37–71. Mia L. Bagneris, Agostino Brunias: Capturing the Carribean [sic] (c.1770–1800), London 2010.\nMartin Myrone September 2013\n</div>\n", "display_name": "Summary", "publication_date": "2021-05-10T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThis idealised scene shows mainly women of African and African European descent, both free and enslaved, dancing gracefully together. Agostino Brunias mainly painted such appealing images of plantation life for plantation owners and colonial administrators. Any reference to the forced labour and violence underpinning this is erased, as are his patrons’ roles in this oppression. Yet reading this picture against the grain reveals aspects of Black Caribbean culture. Details like the women’s clothing and African drum suggest this community’s agency, struggle for personhood, and resistance to slavery.\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\nAgostino Brunias c.1730–1796 \n\nDancing Scene in the West Indies \nc.1764–96 \nOil paint on canvas \n508 x 660 mm \nPurchased with assistance from Tate Patrons 2013 \nT13869 \nOwnership history \n… the Parker Gallery, London; Sir Harold Paton Mitchell, 1st Baronet (1900–1983), Marhall’s Island, Bermuda; by descent; sold Christie's South Kensington, London, 25 April 2012, lot 276; bought by Rafael Valls Ltd, London, from whom purchased by Tate 2013. \nReferences \n2013 \nTate Patrons Report 2012–13, pp.10–11, reproduced. \nThis small and vividly coloured oil painting shows a predominantly female group of figures dancing in an open area of bare, sandy ground before two solidly-built (stone or brick) two-storey buildings and a hilly, richly vegetated landscape, surmounted on the right by further solid-looking buildings, a thatched hut and a windmill. The setting is intended as the Caribbean, probably St Vincent or Dominica where the Italian-born artist Brunias was largely based from c.1764 until his death in 1796.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">1</a> The figures are ranged across the full width of the composition, linked in an undulating rhythm; some are fully clothed, in contemporary costume, some naked to the waist, some bare-shouldered. Most wear turbans and head-scarves in a variety of arrangements; one figure, to the rear and of indistinct gender (although probably intended as male), wears a black broad-brimmed hat with a feather. To the centre left is a group providing the music from tambourines, a triangle, and clapping. The triangle-player is male, with a single further obviously male figure in bright red trousers and striped bandanna appearing to the right of the most prominent trio of female dancers at the centre of the scene. Further variety is added in the figure of a small child in a dress, clapping, and an animated dog, both at the bottom right. To the extreme right at the rear, and in the left foreground, pairs of figures hold hands and prance energetically. Throughout, the application of paint is descriptive, with small strokes of strong colour and only the background foliage being treated in a more open, painterly way, with dabs of colour evoking individual leaves. \nThe painting is typical of Brunias’s work, in showing a mixture of men and women from African and mixed African and European descent (termed in eighteenth-century parlance ‘mulattos’) engaged in leisure-time activities in a public space. The scene therefore includes figures who would have been expected by contemporary viewers to be enslaved (the darker skinned men and women) intermingling with others of higher social status who might be free women of colour (the lighter-skinned women wearing more European-style costumes).<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">2</a> The costumes of the figures also combine European and African elements (with turbans and headwraps in combination with corsets and shirts, and all the figures barefoot). Their dance appears to be a street dance on the move, accompanied by a small band moving with tambourines and triangles, perhaps the pre-Lent carnival traditionally known as Masquerade or Mas’ which is still practised in Dominica.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">3</a> \nThe purported location of the scene portrayed here, however, cannot be confirmed. The painting was on the art market in 2012–13 under the title A Negroes Dance in the Island of Dominica, which was presumably derived from the print of that title published after a painting by Brunias in London in 1779.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">4</a> However, that shows a quite different figure grouping and setting, and the dance can be identified as a bele involving a central dancing couple and a stationary drummer.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">5</a> Two of the most prominent figures in this picture – the Black woman with a tambourine raised above her head and the light skinned woman in a white dress with her arms raised – appear in a painting identified as Villagers Merry Making in the island of St. Vincent, with Dancers and Musicians, A Landscape with Huts on a Hill (National Gallery of Jamaica), where the overall arrangement of the landscape setting is also very similar, although the buildings to the left are low thatched huts and there is no windmill in the distance.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">6</a> The significance, if any, to be attached to the windmill and the lettering visible above the door of the building to the extreme left of the present painting (legible as ‘MITRD’ or ‘MITRIO’) has not been established. The historian of Dominica, Lennox Honychurch, who has made a particular study of Brunias, has advised that the landscape looks very much like that surrounding the towns of Kingstown, St. Vincent and Roseau, Dominica, both located on volcanic islands in rather similar locations, with hills close behind the towns.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">7</a> The presence of stone-built houses and the evidence of commercial activity (in the form of the shop sign) reinforces the impression that the scene is intended to represent the outskirts of either of these colonial conurbations. Without further definite evidence, however, it would be misleading to suggest that the painting purports to represent a recognisable local site. Importantly, Brunias often grafted details, figures and even whole groups from one composition to another, even when they purported to represent different communities from separate islands. The present painting bears such a relationship to several extant prints and paintings by Brunias. Besides the resemblances with Villagers Merry Making in the Island of St. Vincent, the male figure to the centre right of the present painting, wearing a bandanna and sash, appears in a slightly different costume in the smaller painting of The Handkerchief Dance (Carmen Thyssen–Bornemisza Collection, Museo Thyssen–Bornemisza, Madrid).<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">8</a> Such visual transfers can be interpreted as the working practice of an artist finding a successful market for such images and simply recycling his compositions. But these grafts also show the degree to which these images remained reliant on a conventionalised and incomplete understanding of the social worlds they purported to represent (and were subject to pictorial conventions imported from Europe), even though Brunias knew these worlds at first hand and may even have raised a family with a non-white woman in Dominica.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">9</a> As with other images of life in the British West Indies by Brunias the major economic reason for colonization and the creation of slave plantations in the Caribbean – the production of sugar and coffee – is not made explicitly visible (although the windmill and plantation buildings in the distance register that the land was being worked). Instead, we are treated to a scene of apparently free and independent leisure activity among the Black and mixed heritage population.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">10</a> The dating of the work to c.1764–96 includes the full period of Brunias’s time in the Caribbean and his brief return to London in the late 1770s. Although his images of Caribbean life have been scrutinised closely in recent scholarship, the chronology of his work has not been fully established. \nThe work is an example of eighteenth century ‘genre painting’ showing scenes purportedly of everyday life among working people, generally on a small scale and with an emphasis on decorative or humorous effect. Such images were increasingly commercially successful in the later eighteenth century and helped promote a reassuring vision of the lower classes and the rural economy.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">11</a> Although the Caribbean subject of this work is highly unusual – Brunias was the only oil painter to produce a sustained body of surviving images claiming to represent life in the British West Indies in the eighteenth century – the treatment of the figures and landscape bear comparison with contemporary works showing European themes, for instance, Pietro Fabris’s The Festival of the Madonna dell'Arco, Naples (1777; Compton Verney, Warwickshire) or David Allan’s Highland Wedding at Blair Atholl (1780; on loan to the National Galleries of Scotland, NGL 001.81) which share with the present work the foregrounding of a culturally specific group festivities. The high colouring of the landscape is also close to the more decorative forms of contemporary landscape painting, for instance, that pursued by the itinerant French artist Jean-Baptiste Pillement and George Barret (for an example in Tate’s collection, see <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"/art/artworks/T01881\" onclick=\"popTateObjects(event, -1, 'T01881');\" title=\"View details of this artwork\">T01881</a>). In common with the more ambitious kinds of genre painting, including Allan’s highland scene, this painting also evokes classical tradition. The arrangement of the dancing figures, in a frieze-like arrangement across the composition, would have been informed by Brunias’s academic training in Italy and alludes to classical representations of dancing figures in an array of sculptural reliefs, wall decorations and vase paintings. In attempting the graceful arrangement of a complex scene of revelling Brunias was emulating such esteemed pictorial precedents as Poussin’s Bacchanalian Revel Before a Term (c.1632–3; National Gallery, London, NG62) or Mantegna’s Parnassus (1497; Louvre, Paris, inv.370). The compositional prominence given to the three central female dancers, one with her back turned to the viewer and somewhat separated from the crowd, alludes more particularly to the classical motif of the Three Graces found in a multitude of antique sources and in numerous prints and paintings from the Renaissance onwards. An arrangement of three (usually female figures) shown in interlocking or complementary poses was a common feature of eighteenth–century portraits and subject paintings attempting to convey the kind of ideal gracefulness imagined to be the special preserve of the ancient Greeks and Romans, or caricatures lampooning such notions of grace.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">12</a>As Kay Dian Kriz and other scholars writing recently about Brunias have noted, the artist habitually incorporated such references to the classical tradition into his imagery of the Caribbean, helping legitimate the titillating display of naked female flesh these images entailed.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">13</a> The abandon of the dancers, the bold nudity of some figures, and the heavily percussive instrumentation which drives their dancing, would though, have been quite alien to mainstream European notions of female deportment and masculine reserve. If there are parallels with contemporary images of Europeans dancing, particular scenes of the ‘country dances’ of the period, Brunias’s treatment of the figures would have asserted their difference.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">14</a> While country dances were undoubtedly physically energetic and informal, they were also relatively orderly, at least as practised among polite society. An early nineteenth-century treatise warned that: ‘No person during a Country dance should hiss, clap, or make any other noise, to interrupt the good order of the company … Snapping the fingers, in Country Dancing and Reels, and the sudden howl or yell too frequently practised, ought particularly to be avoided, as partaking too much of the customs of barbarous nations’.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">15</a> The music historian, glossing that quote, notes that the author had in mind ‘the Scots, whom the English essentially considered ungovernable’.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">16</a> Allan’s highland celebration and Brunias’s Caribbean dance would, then, both have represented to London viewers ‘exotic’ and culturally distant performances which testified to the relative barbarism of their participants.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">17</a> \nAs with most genre paintings featuring representations of lower class people in Britain, there is great emphasis on the cleanliness and fashionability of the women’s costume which seems strikingly at odds with what we know of the living conditions and life prospects of the poor on both sides of the Atlantic. Such pristine attire matches contemporary accounts promoting a positive image of life in the slave plantations, such as this from an account of Dominica by a pro-slavery writer in 1791: \n\n<blockquote>The free people of colour are remarkably fond of dress and dancing; for the enjoyment of which they will sacrifice every thing that is valuable in their possession. Dancing is the chief part of their amusements, their preparations for which are commonly very expensive; their ladies being usually dressed in silks, silk stockings and shoes; buckles, braces, and rings of gold and silver, to a considerable value.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">18</a> </blockquote>\nA contemporary commentator referred in 1785 to prints after Brunias’s designs as evidence of the quality of life on the slave plantations: \n\n<blockquote>To the mere European reader I beg leave to recommend an inspection of a set of prints, etched by Brunias, an Italian painter, from drawings made by himself on the spot, representing the negro dancings, cudgellings, &c. &c. of the different islands; which are drawn with much exactness and strong character. – Let him compare these plump, active, and merry figures, with the emaciated, squalid, and heart-broken inhabitants of the distant English villages.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">19</a> </blockquote>\nThe historian John E. Crossly, responding to such views, notes that Brunias contrives 'to portray enslaved Africans as happy peasants’ and so the artist suggests that, ‘With their clothing, housing, food, and social space amply provided by an unobtrusive plantation owner, slaves had the leisured autonomy to syncretise African musical traditions with European dancing and fashion’.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">20</a> The contrast with the supposedly much inferior living conditions of the poor in Britain was a stock rhetorical device of the pro-slavery lobby which helped shape some painted and printed images of rural life (see, for instance, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"/art/artworks/T06734\" onclick=\"popTateObjects(event, -1, 'T06734');\" title=\"View details of this artwork\">T06734</a>).<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">21</a> Nonetheless, the historical record does support the idea that poor working people could be concerned with fashionable dress and, even in the oppressive context of the slave plantations, could use personal adornment as a means of asserting some element of individuality and independence.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">22</a> \nBorn and trained in Rome, but based from 1758 in London where he worked as a draughtsman and decorator for the leading architects John, James and Robert Adam, Brunias moved to the British West Indies in 1764. Brunias accompanied Sir William Young (1724/5–88) as a draughtsman on his voyage to the West Indies in 1764. Young had been appointed as the new Commissioner and Receiver for the sale of lands in the islands of Dominica, St Vincent and Tobago, which were among the Caribbean territories to be been ceded to Britain by France and Spain at the end of the Seven Years’ War (1756–63). Brunias remained in the British West Indies for the rest of his life, mainly residing on St Vincent and Dominica. He returned to London for a few years only in the late 1770s (while Caribbean islands were caught up in the war between Britain and revolutionary America and her French and Spanish allies, with Dominica returned to French rule from 1778 to 1783), and during this period published several prints of West Indian subjects including that of a dancing scene in Dominica noted above.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">23</a> His images had a considerable influence on British perceptions of the slave plantations. Although his oil paintings would have been produced for a local clientèle of plantation owners and colonial governors, his compositions were well-known in Britain and elsewhere in the world: prints after his paintings circulated widely and were republished into the nineteenth century, and were used to illustrate the third edition of Bryan Edwards’s influential History, Civil and Commercial, of the British Colonies in the West Indies (1801). \nAlthough Brunias evidently created a fiction about life in the West Indies which was intended to prove palatable to the plantation owners and colonial administrators who made up his clientèle – and whose interests were coming under threat in the late eighteenth century from slave revolts in the plantations and an increasingly vocal anti-slavery movement in Britain – some recent scholarship has suggested how his images also registered the complexity of Caribbean society. Such images acknowledge the interaction of different ethnic and cultural groups within Caribbean society and focus intently, but with some bewilderment, on the combination of western and African elements in costume and personal ornament adopted by Black and mixed heritage people. The scholar Beth Fowkes Tobin proposed that in adopting an ‘ethnographic’ view of West Indian cultures: \n\n<blockquote>Brunias’s paintings of African Caribbeans, both freed and enslaved, bear traces of the struggle for personhood, and in is representation of clothing we can see both the suppression and the presence of narratives of self actualisation for the subjects of his paintings. Brunias’s paintings and prints, in recording the quotidian cross–cultural encounters of the ‘sugar’ islands, capture the contradictions inherent in the colonial slave societies of the West Indies.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">24</a> </blockquote>\nThe art historian Kay Dian Kriz has made a similarly sustained analysis of Brunias’s images, proposing that their focus on the role of women of African and European heritage in commerce and leisure articulated a titillating sense of the economic fruitfulness of the colonies while avoiding the representation of plantation labour or sugar itself, as the raw material which was so controversially the basis of the Caribbean’s colonial economy: ‘the bounty and variety so closely associated with a colony are imaged in terms of human difference and local consumption’.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">25</a> For Mia L. Bagneris, who completed a doctoral dissertation on Brunias’s work in 2009, Brunias’s focus on the active, even joyous, interaction of different ethnic and social groups within West Indian society has a subversive potential and arguably challenged the racial hierarchies imposed by British colonial rule. She proposed that: ‘Undercutting their ostensible raison d’être [as ethnographic records], Agostino Brunias’s paintings reject the notion of a carefully ordered grid of human types in favour of a multi-hued mélange of glorious humanity’.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">26</a> This re-evaluation of Brunias and his work has gathered pace only over the last two decades. Surveying the materials relevant to the historical study of the Caribbean collected by museums in 1987, the anthropologist David C. Devenish noted that although Brunias’s images were among the most important relevant pictorial source materials for the study of the historical West Indies, ‘very few of these have survived and almost none in Museums. The British Museum is the only Museum in the UK which appears to have a worthwhile collection’.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">27</a> Bought by Tate in 2013, Dancing Scene in the West Indies c.1764–96 was the first West Indian scene in oils by Brunias to enter a UK public collection. Only his earlier career, as a decorative painter working for the Adams, is represented in the national collections, in the form of decorative panels from Kedleston Hall, Derbyshire in the Victoria and Albert Museum (W.38:1, 2–1975) and drawings connected with architectural schemes. Prints reproducing various West Indian scenes by Brunias are also held by the British Library, Museum of London, National Maritime Museum and, as Devenish noted, the British Museum. \nBrunias is much better represented in collections in America and the Caribbean. Long considered as accurate visual evidence of folk life or as simply decorative, such images are now scrutinised as among the most artistically complex visual documents of European imperial history and have become highly prized by museum collections seeking to represent the transatlantic cultures of the eighteenth century, whether from a British, Caribbean or Latin American perspective. Brunias’s own, complicated identity – as an Italian artist who worked in Britain and in the mainly French-speaking British West Indies – may have further enhanced his reputation in such contexts, serving to represent the fluidity and interconnectedness of the Atlantic world in the eighteenth century.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">28</a> There are now groups of works and important individual paintings of West Indian subjects by Brunias in the Yale Center for British Art (Mellon Collection); Herbert F. Johnson Museum of Art, Cornell University; Peabody Museum of Archaeology and Ethnology, Harvard University; the National Gallery of Jamaica, Kingston; The Art Institute of Chicago; and the Brooklyn Museum of Art. There is also a group of works at the Museo Thyssen-Bornemisza, Madrid (the Carmen Thyssen-Bornemisza Collection). However, the rise of Brunias’s works to this new level of visibility was not inevitable. Introducing her doctoral dissertation on the artist (2009), Bagneris discussed a memo of 1981 held by the Yale Center for British Art proposing the sale of their Brunias paintings, in part because ‘Brunias is not English and very, very minor’, with the author of the note concluding, ‘I do not think we ought to stub our toe over such an unimportant pebble’.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">29</a> As Bagneris notes, ‘Had the memo’s author been in possession of a crystal ball that could have predicted the striking turn that British Studies has taken in the roughly two and a half decades since he penned these words, I suspect that he would have either quit the field in disgust or argued vehemently in favor of the Brunias works’ importance to the Center’s collection … the history of slavery and colonialism that they illustrate are now considered integral to any study of British identity’.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">30</a> \nThe painting’s ownership history is incomplete. Brunias’s paintings are thought to have been commissioned or bought by British plantation owners and administrators in the West Indies, including Sir William Young; a group of eight West Indian scenes by Brunias was included in the sale of the collection of Young’s son in London in 1802 (although the descriptions of none of these matches the present painting).<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">31</a> It may also be assumed that he continued to produce and sell paintings while in London in the late 1770s when the publication of his prints of Caribbean subjects would have promoted his reputation.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">32</a> He exhibited West Indian scenes at the Royal Academy in London in 1777 and 1779, although the titles of none of these match the painting under consideration here.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">33</a> The present painting may then have been painted in the West Indies before of after Brunias’s London sojourn of c.1777–83, or in London during those years.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">34</a> The identity of the first owner is not known. The wealthy Scottish–born businessman and former Conservative MP, Sir Harold Paton Mitchell, 1st Baronet (1900–83)<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">35</a> is thought to have acquired it from the now-defunct Parker Gallery, London, in the 1960s or 1970s.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">36</a> Mitchell had extensive property and investments in the Caribbean and was ‘a recognised authority on Caribbean matters’, who held academic posts.<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">37</a> He purchased and moved to Marshall's Island, Bermuda after the Second World War and built a house on the island, where died in 1983. The painting remained with the family after his death, and entered the London art market in 2012. \nMartin Myrone September 2013 \n\nNotes \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">1</a>The literature on Brunias includes: Hans Huth, ‘Agostino Brunias, Romano: Robert Adam’s “Bred Painter”’, Connoisseur, vol.15, December 1962, pp.265–9; Hugh Honour, The Image of the Black in Western Art IV: From the American Revolution to World War I, Cambridge MA and London 1989, pp.32–3; Beth Fowkes Tobin, Picturing Imperial Power: Colonial Subjects in Eighteenth–Century British Painting, Durham and London 1999, pp.139–73; Dian Kriz, ‘Marketing Mulatresses in the Paintings and Prints of Agostino Brunias’, in Felicity Nussbaum ed., The Global Eighteenth Century, Baltimore and London 2003. pp.195–210; Lenox Honychurch, ‘Chatoyer’s Artist: Agostino Brunias and the Depiction of St Vincent’, Journal of the Barbados Museum and Historical Society, vol.50, December 2004, pp.104–28; Kay Dian Kriz, Slavery, Sugar, and the Culture of Refinement: Picturing the British West Indies 1700–1840, New Haven and London 2008, pp.37–71; Romita Ray and Angela Rosenthal, ‘Britain and the World Beyond c.1600–c.1900’, in David Bindman ed., The History of British Art 1600–1870, London 2008, pp.86–115 (pp.106–9); Amanda Michaela Bagneris, ‘Coloring the Caribbean: Agostino Brunias and the Painting of Race in the British West Indies, c.1765–1800’, PhD dissertation, Harvard University 2009; Mia L. Bagneris, Agostino Brunias: Capturing the Carribean (c.1770–1800), London 2010; John E. Crowley, Imperial Landscapes: Britain's Global Visual Culture 1745–1820, New Haven and London 2011, pp.118–19. For the wider context of art in the Caribbean in the eighteenth century, with further references to Brunias, see: Tim Barringer, Gillian Forreser and Barbaro Martinez–Ruiz eds, Art and Emancipation in Jamaica: Isaac Mendes Belisario and his Worlds, exhibition catalogue, Yale Center for British Art, New Haven 2007; Patricia Mohammed, Imaging the Caribbean: Culture and Visual Translation, Oxford 2009; Anne Walmsley and Stanley Greaves with Christopher Cozier, Art in the Caribbean: An Introduction, London 2010, pp.95–102; also Charles Ford, Thomas Cummins, Rosalie Smith McCrea and Helen Weston, ‘The Slave Colonies’, 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 MA and London 2011, pp.241–305. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">2</a> On the social status and cultural significance of mixed race women in the historical Caribbean see Patricia Mohammed, ‘“Be Most of All mi Love Me Browning”: The Emergence in Eighteenth and Nineteenth-Century Jamaica of the Mulatto Women as the Desired’, Feminist Review, vol.65, Summer 2008, pp.22–48. Mohammed notes that, although such women were not inevitably free (a significant proportion of the slave population were described this way in accounts from the time), they were more present in urban centres and more involved in commercial activities than Black women and could achieve financial independence. She cites the work of Brunias to illustrate ‘the elevated position in which the mulatto woman was attaining in slave society compared to black women’ (p.30). She also summarises some of the historical and cultural issues around racial terminology, noting that, ‘The mulatto woman in the British West Indies does not identify herself as black’ whereas in the US she would more likely identify herself as black (pp.25–6). Note also the point made by Kriz 2008, p.45 that women of mixed heritage represented by Brunias were likely to be of specifically French and African origin, given French dominance over St Vincent and Dominica until 1764. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">3</a> My thanks to Lennox Honychurch for his advice on this point (email correspondence August 2013). \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">4</a> See Viceregal Colonial Paintings in the New World, Derek Johns Ltd, London [2012], no.26; 2013 Recent Acquisitions, Raphael Valls Limited, London 2013, no.8. A Negroes Dance in the Island of Dominica, published 15 February 1779; copy at the British Museum, Department of Prints and Drawings (1877,0811.210). A small oil on panel by Brunias of this scene was sold at Christie’s South Kensington, London, 24 April 2013, lot 252, with the partner painting of A Cudgelling Match between English and French Negroes in the Island of Dominica (lot 251), also engraved in 1779. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">5</a>The art historian Sarah Thomas notes in reference to that print that ‘Brunias emphasises order, harmony and civility, and his slaves are engaging in a genteel European-style dance’, drawing a contrast with the ‘raw energy, lasciviousness even’ she detects in a later watercolour by Augustus Earle of a similar subject. See Sarah Thomas, ‘“On the spot”: Travelling Artists and Abolitionism, 1770–1830’, Atlantic Studies, vol.8, no.2, 2011, p.221. Arguably, the contrast with the later Earle design is a matter of interpretation, and anyway considerably less stark in the case of the present Brunias painting, where more female flesh is exposed and the dancing perhaps no less frenetic than in Earle. Indeed, as noted above, the print has been used as historical evidence for the Bélé dancing of Dominica which was adapted from African traditions and which was used to express resistance to slavery (rather than the more innocuous, European–style ‘jing ping’ dances; see Daryll Phillip, The Heritage Dances of Dominca, Dominica, Division of Culture 1998, p.13). The relative restraint of Brunias’s 1779 print might be better explained with reference to its status as an image intended for public circulation. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">6</a> Reproduced online: Dance, St. Vincent, West Indies c.1775; Image Reference Bilby–5, as shown on <a href=\"http://hitchcock.itc.virginia.edu/Slavery/index.php\">www.slaeryimages.org</a>, sponsored by the Virginia Foundation for the Humanities and the University of Virginia Library. A further version of this composition, lacking the landscape elements to the right, was with Francis Edwards Ltd in 1962 and published by Huth 1962, p.366. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">7</a> Email correspondence with Lennox Honychurch, August 2013. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">8</a> This figure also appears, as noted by Javier Arnaldo, in two buttons now in the Cooper-Hewitt Museum in New York, and formerly belonging to the Black revolutionary F.D. Toussaint Louverture (1743–1803). See Javier Arnaldo ed., Colección Carmen Thyssen–Bornemisza, Madrid 2004, p.206. A Brunias painting of a larger group of figures performing a handkerchief dance apparently on Dominica is in a private collection, reproduced in Bagneris 2010, p.27, and a further version of the small composition in Madrid is recorded by a photograph in the Witt Library, Courtauld Institute of Art (c.1971, as in the collection of J.R. Clarke, Rutland). This last work features the women at the extreme right of the Tate picture, naked to the waist and clapping, but reversed. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">9</a> See Bagneris 2010 p.20. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">10</a>On the exclusion of the signs of plantation industry in Brunias’s paintings see particularly Kriz 2008. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">11</a>For the classic scholarly statement on the political character of images of British rural life see John Barrell, The Dark Side of the Landscape: The Rural Poor in English Painting 1730–1840, Cambridge 1980. For comparisons between other examples of Brunias’s West Indian scenes and specific British genre paintings of the eighteenth century, see: Tobin 1999, pp.140–3; Kriz 2008, pp.60–3. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">12</a> For a well-known example of an adaptation of this classical motif in contemporary painting in the Tate collection, see Reynolds’s Three Ladies Adorning a Term of Hymen 1773 (sometimes called in the past ‘The Three Graces’, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"/art/artworks/N00079\" onclick=\"popTateObjects(event, -1, 'N00079');\" title=\"View details of this artwork\">N00079</a>). A dancing ‘Three Graces’ appears in a drawing of the same period by Angelica Kauffmann (British Museum, 1914, 0216.150) and a comic rendering of the theme appears in James Gillray’s print Modern Grace (published 5 May 1796). \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">13</a>Kriz, Slavery, Sugar, and the Culture of Refinement. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">14</a> On country dances and their visual representation, see Richard Leppert, Music and Image: Domesticity, Ideology and Socio–Cultural Formation in Eighteenth-Century England, Cambridge 1988, pp.94–103. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">15</a> Thomas Wilson, The Compleat System of English Country Dancing (1820), quoted in Leppert 1998, p.103. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">16</a> Ibid, p.103. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">17</a> An as-yet unexplored question would be the added significance of Brunias’s images of Black dancers once they were circulating in London (in print and in the form of exhibited paintings), at a period when there were (generally hostile and suspicious) reports of exclusive social gatherings and dances within the growing and increasingly visible Black populace of the metropolis. For these, see Rodreguez King–Dorset, Black Dance in London, 1730–1850: Innovation, Tradition and Resistance, Jefferson NC and London 2008. He quotes (p.113) the London Chronicle, 17 February 1764: ‘Among the sundry fashionable routs or clubs, that are held in town, that of the blacks is not the least. On Wednesday night last, no less than fifty-seven of them, men and women, supped, drank, and entertained themselves with dancing and music, consisting of violins, and other instruments at a public house in Fleet Street, till four in the morning. No whites were allowed to be present, for all the performers were Blacks’. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">18</a>Thomas Atwood, The History of the Island of Dominica, London 1791, pp.220–1. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">19</a> James Tobin, Cursory Remarks upon the Reverend Mr Ramsay's Essay on the Treatment and Conversion of African Slaves in the Sugar Colonies, London 1785, p.98n, quoted and discussed in Crowley 2011, p.119. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">20</a>Ibid., p.128. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">21</a>See, with reference to Brunias’s images, Ray and Rosenthal in Bindman 2008, p.109. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">22</a>For a relevant study of the costume adopted by the poor in Britain see John Styles, The Dress of the People: Everyday Fashion in Eighteenth–Century England, New Haven and London 2007; for the latter point, with reference to Brunias’s images, see Tobin 1999. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">23</a>He was still advertising the publication of a print from a London address in 1783 (Morning Post, 15 July 1783) but by 1784 was engaged on a commission for botanical drawings in St Vincent and was buried in Roseau, Dominica in 1796, his age given as sixty-six (see Bagneris 2010, p.21). \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">24</a>Tobin 1999, p.144. See also Karol K. Weaver, ‘Fashioning Freedom: Slave Seamstresses in the Atlantic World’, Journal of Women’s History, vol.24, no.1, 2012, pp.44–59, who reads Brunias’s paintings as evidence of role that women’s fashion could play in creating a culture of resistence: ‘The painter’s fashionable images make clear that women, whether free or enslaved, African or Creole, understood themselves to be individuals’ (p.49). \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">25</a>Kriz 2008, p.68. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">26</a>Ibid., p.11. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">27</a>David C. Devenish, ‘On Collecting Caribbean Material’, Newsletter (Museum Ethnographers Group), vol.19, September 1985, p.54. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">28</a> Brunias is filed as a British artist in the Witt Library, Courtauld Institute of Art, appears in Ellis Waterhouse’s The Dictionary of 18th Century Painters, Woodbridge 1981, and has been discussed in the context of British art history in the recent literature (as at n.1, above). However, the present work appeared in the context of Latin American art on the stand of Derek Johns Ltd at Frieze Masters art fair, Regent’s Park, London, 11–14 October 2012, and was catalogued by Rafael Valls Ltd in 2013 as ‘French School’ (2013 Recent Acquisitions, no.8). The key text for contemporary conceptions of an eighteenth-century Atlantic culture is Joseph Roach, Cities of the Dead: Circum-Atlantic Performance, New York and London 1996. Roach proposes that culture around the Atlantic was not delimited by fixed national identities or by a static Empire imposed upon ‘indigenous’ peoples but was conceived dynamically in the circulation of cultural performances by a multitude of peoples caught in the vortex of economic change: ‘this interculture shares in the contributions of many peoples along the Atlantic rim – for example, Bambara, Iroquois, Spanish, English, Aztec, Yoruba, and French’ (p.5). \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">29</a>Bagneris 2009, p.3. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">30</a>Ibid, pp.4–5. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">31</a>Coxe, Burrell and Foster, London, 20 May 1802, lots 60–7. Sir William Young (1749–1815) inherited West Indian plantations from his father in 1788, and was later (1807) made Governor of Tobago. Young presumably inherited the paintings from his father, although he could also have purchased them himself either in London or while he was in the West Indies in 1791. For biographical information on Young see the Oxford Dictionary of National Biography and on the sale see the notes by B. Frederickson at the Getty Provenance Index. A ‘Pair of views in the Island of Dominica, very highly finished’ from the collection of William Stanhope, second earl of Harrington (1719–79) were sold at Christie’s, London, 31 March 1781, lot 36. Nine paintings of West-Indian scenes from the collection of a Col. O’Hara were sold at Christie’s, London, 24 July 1820, lots 28–28c. Lot 28a, ‘A pair, Negros of the island of Dominica dancing, and Creole and Negro Women bathing’, might have included the present picture. The lot was bought by ‘Colway’ for £3.10 and the price may suggest that the paintings were small. The following lot (28b) was ‘A set of four small pictures, Portraits of native Caribs’, sold for £5 to the same buyer. However, Lot 28c, ‘A large view of the same Plantation [Rosalie]’ sold to Adams for £1.1, and the painting now at the Art Institute of Chicago (View on the River Roseau, Dominica c.1770–80) was a larger picture (84.1 x 158cms). This evidence is, therefore, inconclusive. All sales information from the Getty Provenance Index (<a href=\"http://www.getty.edu/research/tools/provenance/\">http://www.getty.edu/research/tools/provenance/</a>). One further work appears in a London sale in the period covered by the Index: ‘An East Indian Scene’ belonging to ‘Lemoury’ bought by Lord Seaford at Foster’s, London, 14 July 1830. This was presumably a West Indian scene, notwithstanding the stated title, but it is not possible to identify it. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">32</a>'Several views in the West-Indies, by Brunias, were to be included in a sale of paintings at Clayton and Parys, London, advertised in May 1780 (London Courant, 29 May 1780). \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">33</a> No.35 in 1777, nos.32–3 in 1779. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">34</a> Malcolm Warner notes in his catalogue entry on Brunias’s View on the River Roseau, Dominica (Art Institute of Chicago) that the painting’s unusual construction, consisting of three horizontal strips whose edges abut each other, might be a consequence of having being painted in the Caribbean ‘where artists’ materials were not easily obtained’. See Larry J. Feinberg and Martha Wolff eds, French and British Paintings from 1600 to 1800 in The Art Institute of Chicago, Chicago 1996, p.201. The present painting is on a single canvas which may support the idea that it was painted in London, although the Chicago painting is significantly larger (84.1 x 158 cms) and a full technical analysis of a larger selection of Brunias’s paintings would be necessary to lend credence to this speculative claim. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">35</a>For Mitchell’s biography, see ‘MITCHELL, Col Sir Harold (Paton)’, Who Was Who 1920–2008, Oxford University Press, 2012, <a href=\"http://www.ukwhoswho.com/view/article/oupww/whowaswho/U167261\">http://www.ukwhoswho.com/view/article/oupww/whowaswho/U167261</a>, accessed 23 Aug 2013. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">36</a>The provenance is taken from Christie’s South Kensington, 25 April 2012, lot 276 and the records provided by Rafael Valls and Derek Johns (at n.3 above). My thanks to Toby Campbell and Rafael Valls for their assistance. In his autobiography of 1974 Mitchell refers to ‘a small picture gallery of family portraits’ attached to the library in the house that he built on Marshall’s Island, Bermuda, but (unsurprisingly given the scale and range of his political and business interests) does not refer to the present picture: see Sir Harold Mitchell, The Spice of Life, London 1974, pp.89–90. Moreover, as he noted in the same volume (p.251), ‘I am still active in seven countries’ and referred to the furnishing of his several other homes around the world. \n<a href=\"https://www.tate.org.uk/art/artworks/brunias-dancing-scene-in-the-west-indies-t13869\">37</a>‘Obituary: Sir Harold Mitchell: Notable Figure in International Business’, Times, 12 April 1983. \n</div>\n", "display_name": "Catalogue entry", "publication_date": "2021-05-10T00:00:00", "slug_name": "catalogue-entry", "type": "CATALOGUE_ENTRY" } ]

[ "actions: expressive", "actions: postures and motions", "adults", "agriculture and fishing", "animals: mammals", "architecture", "arm / arms raised", "black", "building", "Caribbean", "carnival", "child", "children", "clapping", "clothing and personal items", "cloud", "countries and continents", "dance", "dog - non-specific", "ethnicity", "farm labourer", "farmland", "fine arts and music", "group", "groups", "hill", "history", "holding hands", "hut", "industrial", "instrument, tambourine", "landscape", "leisure and pastimes", "man", "music", "music and entertainment", "natural phenomena", "objects", "palm", "people", "places", "politics and society", "residential", "shadow", "skirt", "slavery", "social comment", "society", "society: black history", "society: West Indies, British colonization", "square", "townscapes / man-made features", "tree", "turban", "weather", "windmill", "woman", "work and occupations" ]

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Fluorescent light tubes and plastic bottles

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<a href="https://www.tate.org.uk/art/artists/bill-culbert-17988" aria-label="More by Bill Culbert" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Bill Culbert</a>

Seven Seas

2,013

[]

Presented by Tate Patrons 2013

T13870

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Bill Culbert

1,987

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Seven Seas 1987 by the artist Bill Culbert consists of seven rows of used, unlabelled plastic bottles (mainly detergent bottles) with their caps on. The bottles are arranged in a pyramidal shape, and the bottom row is made up of eighteen bottles while the top row has six. Fluorescent light tubes pass through each bottle via holes cut in their sides, drawing a horizontal line of light through each row. The bottom two rows contain two fluorescent light tubes positioned end to end, while the upper five contain successively shorter single tubes. The wiring of the light tubes is exposed, trailing around and in front of the work down to a sequence of junction boxes positioned on the floor beneath it.

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sculpture fluorescent light tubes plastic bottles

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Seven Seas

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1987

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Installation: 3000 × 2470 × 750 mm (confirmed)

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

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nSeven Seas 1987 by the artist Bill Culbert consists of seven rows of used, unlabelled plastic bottles (mainly detergent bottles) with their caps on. The bottles are arranged in a pyramidal shape, and the bottom row is made up of eighteen bottles while the top row has six. Fluorescent light tubes pass through each bottle via holes cut in their sides, drawing a horizontal line of light through each row. The bottom two rows contain two fluorescent light tubes positioned end to end, while the upper five contain successively shorter single tubes. The wiring of the light tubes is exposed, trailing around and in front of the work down to a sequence of junction boxes positioned on the floor beneath it.\n\nSeven Seas is one of two works made to a similar scale and format; the other, titled Cascade 1986 (Auckland Art Gallery Toi o Tamaki, Auckland) is made up of four rows of bottles rather than seven. Both titles are indicative of the sense of movement and flow that the form of the works projects – the cumulative pooling of light from top to bottom and the flowing veins or rivulets suggested by the pull of gravity on the lights’ wiring. This sense of oceanic space is captured in other works that Culbert has made since the 1980s, such as the multiple colour combinations of Underwater 1986 (reproduced in Wedde 2009, pp.48, 143), the single fluorescent tube cutting through pink rimmed containers in Crayfish 1987 (private collection), or the later floor installation Pacific Flotsam 2007 (Christchurch Art Gallery Te Puna o Waiwhetu, Christchurch).\n\nSeven Seas is characteristic of the bottle combinations made from found, used plastic bottles that Culbert has produced since 1982. They are prefigured by New Work 1978 (reproduced in Wedde 2009, pp.45, 140) in which five tin oil cans with one side removed are arranged laterally with a single fluorescent light tube passing through them. Although the bottle combinations are sometimes given titles that reflect the specific locations in which they were made, or punning titles that underscore either the arrangement of bottles and lights or the origin or type of container used, the common denominator for these works is the conjunction of a standard manufactured light in the form of the isolated fluorescent light tube and found, mostly plastic, containers. Since 1962 Culbert has lived part of each year in a hill village in the Vaucluse area of the south of France and has exploited unofficial rubbish dumps there to provide much of the material for his work.\nIn the early 1960s Culbert trained and exhibited as a painter. His earlier work shows a preoccupation with cubist and futurist forms, but paintings produced after the mid-1960s focus more on the play of light in space. These works share an affinity with the emerging nouvelle tendance movement, which encompassed op, kinetic and concrete art, and focused on the viewer’s encounter with the artwork. Culbert’s work of this period can also be read in the context of his friendship with Stuart Brisley, with whom he studied at the Royal College of Art in London, as well as Bridget Riley, whom he taught alongside Brisley at Hornsey School of Art in London in the late 1960s. Culbert’s work in the ‘visual research’ studio at Hornsey led him to explore the effect of the camera obscura and then to create light installations such as ‘Fields of Light’, first realised with Brisley for a collaborative exhibition at Camden Arts Centre, London in 1968.\nWhereas earlier light works negotiate the relationship between natural and artificial light, later work, made in the latter half of the 1970s, use electric light in combination with other materials. These works include his so-called ‘implement works’ Shovel 1975 (reproduced in Institute of Contemporary Arts 1986, p.35), Triangular Hoe 1976 (reproduced in Institute of Contemporary Arts 1986, p.36) and Two Prong Fork 1976 (reproduced in Wedde 2009, pp.21, 75). In each of these sculptures fluorescent light tubes provide the handle for a farmyard tool. By the end of the decade Culbert’s work became more preoccupied with light as a material, rather than illuminated objects. In New Work and the subsequent bottle combinations light is contained and made to emanate, while the black and white photograph Small Glass Pouring Light 1979 (reproduced in Wedde 2009, pl.34, p.111) illustrates light pouring through a wine glass filled with red wine, which casts a shadow that evokes the image of an incandescent light bulb.\nWhat characterises these later works, and especially bottle combinations such as Seven Seas, is the use of found and standardised materials to create an image-based sculpture. The image produced in Culbert’s work results from the conjunction of metaphor and everyday materials, imbuing the effect of the light with a particular function or purpose, for instance the oceanic tides in Seven Seas. The critic Stephen Bann has described this in terms of the ‘manifestation of light, which the modernists called “epiphany”’ (Stephen Bann, untitled text in Institute of Contemporary Arts 1986, p.112). Culbert’s bottle combinations and related works of this period reveal direct allegiances with contemporaries in the 1980s such as Ed Allington, Kate Blacker, Tony Cragg, David Mach and Bill Woodrow – object sculptors whose work the critic Nena Dimitrijevic identified as ‘bricolage sculpture’, and which the critic Anne Tronche, writing about Culbert in 1990, saw as making works that ‘link the rigour of abstraction with the simplicity of the vernacular’ (both quoted in Wedde 2009, p.165). It is indicative of Culbert’s newfound identity at this time that he was selected by Blacker for inclusion in the Sculpture Show in 1983 at the Hayward Gallery, London, positioning him among the practitioners of New British Sculpture.\n\nSeven Seas was initially titled Cascade, but its title was changed by 1990 to avoid confusion with the slightly earlier work of 1986, which is also titled Cascade. The work was exhibited at Nature Artificielle, Espace Electra (Fondation Electricité de France), Paris in 1990 and in Bill Culbert: New Light Works at Galerie Andata/Ritorno, Geneva in 1991.\n\nFurther reading\n \nBill Culbert: Selected Works 1968–1986, exhibition catalogue, Institute of Contemporary Arts, London 1986. \nBill Culbert: Bottle Combinations, exhibition catalogue, Galerie Six Friedrich, Munich and Victoria Miro Gallery, London 1990, unpaginated (included under the title Cascade). Ian Wedde, Bill Culbert: Making Light Work, Auckland 2009, p.146.\nAndrew Wilson March 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-04-11T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "abstraction", "bottle", "emotions, concepts and ideas", "formal qualities", "geometric", "light", "non-representational", "objects", "pattern", "sea", "seascapes and coasts", "vessels and containers" ]

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Sandstone, bronze

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Monument

2,013

[]

Presented by Tate Members 2013

T13871

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421

7006630 1008328 7005332 7017283 7019097 7002444 7008591

Ian Hamilton Finlay

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Monument 1991 comprises the bronze casts of three two-gallon watering cans which stand, spouts pointing forwards, on a sandstone plinth that is roughly the height of the body of each can. The watering cans are each inscribed with the name and dates of prominent figures of the French Revolution: ‘M. ROBESPIERRE 1758–1794’, ‘L.-A. SAINT-JUST 1767–1794’ and ‘G. COUTHON 1756–1794’. Monument relates, therefore, to a specific moment in the French Revolution when the three architects of the Revolution’s Committee of Public Safety – Maximilien Robespierre, Louis-Antoine de Saint-Just and Georges Couthon – were themselves arrested and executed, bringing to an end the so-called Reign of Terror. This event became known as the Thermidorian Reaction, named for the date that Robespierre and his followers were executed – in the Republican Calendar, 10 Thermidor Year II (28 July 1794). Thermidor is the month of heat in which plants are sustained through watering. The tenth day of Thermidor, the date of the execution, is named ‘Arrosoir’ (the French word for watering can). The imagery of Thermidor is one that much occupied Finlay, given the rich set of metaphors it contains. Originally, the work was given a low granite plinth by the artist, which later changed to the higher sandstone plinth that is now part of the work.

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1093

sculpture sandstone bronze

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Monument

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1991

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object: 730 × 1020 × 650 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

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nMonument 1991 comprises the bronze casts of three two-gallon watering cans which stand, spouts pointing forwards, on a sandstone plinth that is roughly the height of the body of each can. The watering cans are each inscribed with the name and dates of prominent figures of the French Revolution: ‘M. ROBESPIERRE 1758–1794’, ‘L.-A. SAINT-JUST 1767–1794’ and ‘G. COUTHON 1756–1794’. Monument relates, therefore, to a specific moment in the French Revolution when the three architects of the Revolution’s Committee of Public Safety – Maximilien Robespierre, Louis-Antoine de Saint-Just and Georges Couthon – were themselves arrested and executed, bringing to an end the so-called Reign of Terror. This event became known as the Thermidorian Reaction, named for the date that Robespierre and his followers were executed – in the Republican Calendar, 10 Thermidor Year II (28 July 1794). Thermidor is the month of heat in which plants are sustained through watering. The tenth day of Thermidor, the date of the execution, is named ‘Arrosoir’ (the French word for watering can). The imagery of Thermidor is one that much occupied Finlay, given the rich set of metaphors it contains. Originally, the work was given a low granite plinth by the artist, which later changed to the higher sandstone plinth that is now part of the work.\n\nMonument was made as part of the larger group of works known collectively as the ‘Instruments of Revolution’. It was fabricated for Finlay by Werkstatt Kollerschlag in Vienna and was exhibited in 1991 in Kollerschlag, Austria. The following year it was included in the exhibition Ian Hamilton Finlay: Instruments of Revolution and Other Works at the Institute of Contemporary Arts, London and at Leeds City Art Gallery, Leeds.\nTate’s collection holds five other sculptures from the ‘Instruments of Revolution’ group: Ventose 1991 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/finlay-ventose-t12137\" title=\"View the details of this artwork\">T12137</a>), Osez 1991 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/finlay-osez-t12138\" title=\"View the details of this artwork\">T12138</a>), Drum 1991 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/finlay-drum-t12139\" title=\"View the details of this artwork\">T12139</a>), Quin Morere 1991 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/finlay-quin-morere-t12140\" title=\"View the details of this artwork\">T12140</a>) and Flute 1991 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/finlay-flute-t12141\" title=\"View the details of this artwork\">T12141</a>). The ‘Instruments of Revolution’ bring together Finlay’s principal preoccupations of the 1980s and 1990s: the French Revolution, neo-classicism, the Enlightenment, the garden, warfare and human conflict. These works utilise visual puns and, combined with their titles and inscriptions, extend and subvert meaning through the interplay of word and object. A related work which shares its garden imagery with Monument is Thermidor 1991 (collection unknown), in which three bronze watering cans are positioned within a bronze wheelbarrow. Earlier works in which Finlay employed watering cans include the artist’s book Thermidor 1989, the front cover of which includes a drawing of a watering can with a revolutionary rosette attached to its spout, the ceramic Arrosoir 1985 (reproduced in Finlay 1987, p.46), in which a watering can carries the name and dates of Saint-Just, and a 1985 print of the same title showing a watering can with a black ribbon attached to its spout carrying the text: ‘The Robespierrists were guillotined on Arrosoir, Watering-can, in Thermidor, the Month of Heat (Republican Calendar, 1792–1806). Babeuf described Robespierre as “the genius in whom resided truly regenerative ideas …”’.\nThese ‘regenerative ideas’ are at the heart of Finlay’s approach to this theme and go some way to explaining how he fused the epic and pastoral genres, imagining the French Revolution as an epic ‘pastoral whose Virgil was Rousseau’ (quote taken from his series of prints Revolutionary Pursuits 1987, distributed by the Cartier Foundation, Paris in 1987). The historian Stephen Bann has explained:\n\n<blockquote>The Roman poet Virgil was a crucial influence both on the genre of the epic, with his Aeneid and on the genre of the pastoral, with his Georgics. Finlay implies that the philosopher and confessional writer Rousseau, who combined revolutionary political theory with the vivid evocation of both gardens and landscapes, endowed the French revolutionaries with a similar combination of concerns. (Stephen Bann, unpaginated leaflet accompanying Institute of Contemporary Arts 1992.)</blockquote>\nProof of this fusing together of the epic and the pastoral – in which regeneration can be understood from a social and political perspective as well as in terms of the laws of nature realised in the changing seasons – can be found in the French Revolutionary Calendar, whose names (such as Thermidor) are determined by the country, agriculture and the land rather than the city, politics and the urban environment.\n\nMonument is a testament to the valuable function that the simple watering can has in a garden in the hot, dry months of summer. The inscribed bronze casts of the watering cans also stand as a domesticated memorial or monument to the three men’s death or sacrifice, their blood watering the soil of revolutionary liberty. Such interplay of doubled meanings, and the different regenerative forces they describe, can be found in other works from the ‘Instruments of Revolution’ group. Osez 1991, for instance, is a bronze cast of a garden hoe leaning against a sandstone pile. The hoe is a tool for tilling any garden. The work’s title Osez is a pun on the word for the object itself, but is also a rendering in the original French of the revolutionary slogan ‘Dare!’. There is also a sense of irony; in this context the hoe’s usefulness for weeding seems to allude to the Revolution’s execution first of aristocrats and then – with the Thermidorian Reaction – revolutionary factions. Thermidor 1991, with its three watering cans collected together in a wheelbarrow, presents not just an image of tending and nurturing a garden but also an allegory of the three revolutionaries taken in a cart to execution. From another perspective, Flute 1991, the bronze cast of a German machine gun, is a visual pun that describes both the flute of Virgil (the vents of the gun standing in for the flute’s finger holes) and Saint-Just’s own ivory flute, all of which is suggestive of a pastoral or arcadian equivalence where music, political and social change, and the life of the garden all march to a similar rhythm.\n\nFurther reading\n Ian Hamilton Finlay, Poursuites Révolutionnaires, exhibition catalogue, Cartier Foundation, Jouy-en-Josas 1987. Yves Abrioux, Ian Hamilton Finlay: A Visual Primer, London 1992. \nIan Hamilton Finlay: Instruments of Revolution and Other Works, exhibition catalogue, Institute of Contemporary Arts, London 1992.\nAndrew Wilson January 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-04-11T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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79 17 155 166 5931 21 4116 11312 38 9024 8806 13483 8705 6327

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118,496

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2,006

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Volume 1

2,013

[]

Presented by Tate Patrons 2013

T13872

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7008165 7002445 7008591

Paul Noble

2,006

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These drawings are from a series of six in which Noble drew the entirety of Henry Moore’s sculptures from the six-volume catalogue of the sculptor’s work. The drawn sculptures appear as a mass of overlapping lines being, Noble says, ‘bellmerised’ (after artist Hans Bellmer) as they overlay each other. The more Noble’s drawings of sculptures overlap, the flatter they appear. Although the titles, Volume, refer to the Moore catalogue, they also evoke the cumulative ‘volume’ of the sculptures that the drawings represent.Gallery label, September 2016

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Volume 1

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Tate

2006–7

CLEARED

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support: 998 × 697 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> 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nVolume 1 2006–7 is the first in a series of six large pencil drawings for which Paul Noble drew the entirety of British sculptor Henry Moore’s (1898–1986) sculptural output, as recorded in the six-volume official catalogue raisonné by Alan Bowness, Henry Moore: Complete Sculptures (London 1965–88). The second drawing from the series is also in Tate’s collection (Volume 2 2006–7, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/noble-volume-2-t13873\" title=\"View the details of this artwork\">T13873</a>). The title of each drawing in Noble’s series refers to the respective volume number of Bowness’s catalogue which Noble used as his source. Thus this drawing relates to volume one of Bowness’s catalogue and depicts all the sculptures included in that volume. Noble has drawn the sculptures so that they all overlap and appear as a mass of tangled lines, having been, in Noble’s words, ‘bellmerised’ (after the style of artist Hans Bellmer, 1902–1975). As well as making reference to the actual volumes of the catalogue raisonné, Noble’s choice of title draws attention to the paradoxical nature of the drawings, which represent the three dimensional volumes of Moore’s sculptures in two dimensions. By overlapping these forms more and more in order to evoke the cumulative volume of the sculptures on one sheet of paper, Noble’s drawings have the reverse effect and appear to flatten out the shapes of Moore’s work.\nDrawing occupies a central place in Noble’s practice. He uses recurring motifs and themes to create large and complex compositions which frequently contain specific artistic or cultural references, with the example of Henry Moore being one of the most enduring throughout his work. Several of his drawings construct the fictional and eccentric setting of ‘Nobson Newtown’, an invented town masterminded by Noble’s alter ego, the architect ‘Paul’: see, for instance, Lidonob 2000, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/noble-lidonob-t13325\" title=\"View the details of this artwork\">T13325</a>, which depicts the town’s public swimming pool, and Paul’s Place 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/noble-pauls-place-p78667\" title=\"View the details of this artwork\">P78667</a>, which depicts the fictional architect’s house. Noble’s playful exploration of Moore’s sculpture began in the first of his ‘Nobson Newtown’ drawings, Paul’s Palace 1996, which shows the artist’s ‘palace’ built on sand adjacent to a pile of discarded sculptures by Moore that occupies a corner of the drawing. Here Noble suggests that the monumental scale of Moore’s work, as much as his reputation (as registered by the catalogue raisonné in the recent drawings), might be more ephemeral than it seems. Moore’s work has appeared in Noble’s subsequent drawings in different forms and guises: as monumental public sculptures, as awkward characters within the Nobson settings, or more specifically in this group of Volume drawings and in the very large Monument Monument 2007 that he completed at around the same time. Like the Volume drawings, Monument Monument (the monument of the monument of Moore’s work) features the sculptures from Moore’s six-volume catalogue raisonné. This time, however, Noble has drawn them clear and whole. Rather than overlapped, the sculptures are drawn stacked on top of one another, resulting in a single drawing over six metres high.\n\nFurther reading\n \nPaul Noble, exhibition catalogue, Whitechapel Gallery, London 2004. \nPaul Noble: Welcome to Nobson, exhibition catalogue, Gagosian Gallery, London 2011. Lizzie Carey-Thomas and Sofia Karamani, Turner Prize 2012, exhibition booklet, Tate Britain, London 2012, p.18.\nSofia Karamani May 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-06-27T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThese drawings are from a series of six in which Noble drew the entirety of Henry Moore’s sculptures from the six-volume catalogue of the sculptor’s work. The drawn sculptures appear as a mass of overlapping lines being, Noble says, ‘bellmerised’ (after artist Hans Bellmer) as they overlay each other. The more Noble’s drawings of sculptures overlap, the flatter they appear. Although the titles, Volume, refer to the Moore catalogue, they also evoke the cumulative ‘volume’ of the sculptures that the drawings represent.\n</div>\n", "display_name": "Display caption", "publication_date": "2016-09-06T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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Acrylic paint on canvas mounted on plywood

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Airpipe C

2,013

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

T13874

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Noriyuki Haraguchi

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Haraguchi is from Yokosuka, the primary US naval base in Japan during the Vietnam War. He has said he came to understand ‘the true nature of creativity’ after watching a jet fighter being transported onto the naval base in 1968. He handcrafted a full-scale reproduction of the jet’s tail and made a related series of Airpipe constructions that resemble the jet engine exhausts. Bulging out from the wall, this piece demonstrates Haraguchi’s ability to combine a minimalist sculptural vocabulary with the aesthetics of militarism and heavy industry, raising questions about the environment, modernisation and war.Gallery label, January 2016

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relief acrylic paint canvas mounted plywood

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Airpipe C

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Tate

1969

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object: 1240 × 1550 × 360 mm

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

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Poster, letters, photographs, time cards, time clock, 16mm film camera, 16mm film (colour, silent) and uniform

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One Year Performance19801981

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

T13875

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7007567 1085357 7001008 1000141 1000004

Tehching Hsieh

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installation poster letters photographs time cards clock 16mm film camera colour silent uniform

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One Year Performance1980-1981

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Tate

1980–1

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Tate

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

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artwork

Lithograph on primed canvas with neon gas tube

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Relation Aesthetic Choice to Life Activity Function Subject

2,013

[]

Presented by Tate Members 2013

T13876

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Billy Apple

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In 1961 Ascott became interested in cybernetictheory and adopted cybernetic approachesinto his formulation of the Groundcourse atEaling College of Art (1961–4). For Ascott,cybernetics represented a process ofcommunication and behaviour from whichobservations of the world could be made.Here, the combination of multiple possibilitiesachieved by the interrelation of the panels andsolid wooden elements, combined with atransparent moveable central panel, allowsthe work to be created by the viewer whoseinteraction brings the object into being.Gallery label, September 2016

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5200

painting lithograph primed canvas neon gas tube

[ { "artistRoomsTour": false, "dateText": "3 August 2015 – 1 November 2017", "endDate": "2017-11-01", "exhibitionLegs": [ { "dateText": "3 August 2015 – 1 November 2017", "endDate": "2017-11-01", "id": 9874, "startDate": "2015-08-03", "venueName": "Tate Liverpool (Liverpool, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/liverpool/" } ], "id": 8132, "startDate": "2015-08-03", "title": "Cindy Sherman", "type": "Collection based display" }, { "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": 13092, "startDate": "2019-02-16", "venueName": "Tate Liverpool (Liverpool, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/liverpool/" } ], "id": 10780, "startDate": "2019-02-16", "title": "Andy Warhol", "type": "Collection based display" } ]

Relation of Aesthetic Choice to Life Activity (Function) of the Subject

1,961

Tate

1961–2

CLEARED

6

support: 951 × 749 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

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nRelation of Aesthetic Choice to Life Activity (Function) of the Subject 1961−2 shows four identical portrait-format black and white photographic images arranged in a grid and printed by offset lithograph on a primed linen canvas. The photograph is a found image of a customs officer in uniform wearing a hat. A red neon tick punctures and overlays the image positioned at the top left of the grid. The image was appropriated by the artist from an article in Ark, the magazine of the Royal College of Art (RCA) in London, where he was a student between 1959 and 1962. It was originally by Keith Branscombe and featured in ‘Twist Drunk, A Picture Story by Keith Branscombe’ (Ark, no.33, Autumn 1962, pp.18–26) that documented a dance party aboard the MV Royal Daffodil as it sailed across the English Channel, during which passengers were able to drink outside of normal licensing hours.\nThe neon tick indicates which image Apple felt was the best of the identical photographs. He explained that the work depicted, ‘A customs officer who inspects baggage, often making arbitrary decisions about who to check. I selected one of four photographs of the officer and “checked” it with red neon, singling it out for specific inspection.’ (Quoted in Serpentine Gallery 1974, p.9.) As such, the ‘aesthetic choice’ of the artist named in the title mimicked the ‘life activity’ of the depicted subject, emptying out the creative act from Apple’s artistic production and rendering it arbitrary. This work was the earliest by the artist to include neon, a medium he explored and developed further after he had moved to New York in 1963, with the solo exhibitions Neon Rainbows at the Bianchini Gallery in 1965 and Neons at the Pepsi Cola Gallery in 1966. The work is unique.\n\nRelation of Aesthetic Choice to Life Activity (Function) of the Subject was made when the artist was still Barrie Bates, prior to his change of identity to Billy Apple in 1962. The title of the work provides a commentary surrounding the decisions he made when formulating this shift of identity. He was not alone in exploring opportunities for personal transformation. In the summer of 1961 Apple (or Barrie Bates as he then still was) and fellow RCA student David Hockney visited New York together for two months. The trip provided the context for the artists’ discovery and application of the hair colouring product Lady Clairol Instant Crème Whip. Hockney’s transformation into a blonde using this product was recorded in the third plate of his sequence of prints A Rake’s Progress, entitled The Start of the Spending Spree and the Door Opening for a Blonde 1961–3 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hockney-3-the-start-of-the-spending-spree-and-the-door-opening-for-a-blonde-p07033\" title=\"View the details of this artwork\">P07033</a>). Apple’s transformation, also catalysed by this trip, eventually took place on 22 November 1962 after he had graduated (the location chosen for this event was the studio and home of artist Richard Smith).\nAlthough Apple studied graphic design at the RCA, he had been permitted to move freely between all departments after receiving special dispensation from the Head of Design, Richard Guyatt. In this climate he gravitated more towards the painting students than his fellow design students, and as a consequence he not only exhibited with his contemporaries in a number of the Young Contemporaries exhibitions, but in 1961 and 1962 also designed the posters and invitation cards. This background and the range of reference informs the ways in which Apple’s work intersects with pop art through his manipulation of the language of advertising, blurring distinctions between art and life, people and products.\nDuring his trip to New York in 1961 Apple had spent some time getting work experience at advertising agencies. At Sudler and Hennessey he learned about pitching ideas to a client and he met Herb Lubalin, one of the most influential creative directors in New York at that time. The effect of this meeting was galvanising for Apple; Lubalin, art historian Christina Barton has explained,\n\n<blockquote>taught him about the importance of a clear concept and the power of typography to convey it. On the strength of this and related experiences, Apple quickly began to privilege the idea as the driving force for any work, using media (typography, photography, painting and bronze casting, drawing, printing and film) as means to convey the concept and delegating others the job of realising his vision. (Barton in Mayor Gallery 2010, p.14.)</blockquote>\n\nRelation of Aesthetic Choice to Life Activity (Function) of the Subject was included in Apple’s solo exhibition Apple Sees Red: Live Stills at Gallery One, London in April 1963. Included in this exhibition was another unique lithograph on canvas, also in Tate’s collection, entitled Self Portraits (Apple Sees Red on Green) 1962 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/apple-self-portraits-apple-sees-red-on-green-t13877\" title=\"View the details of this artwork\">T13877</a>). After this show Apple moved to New York where he continued to produce pop-related work, often using neon. By the end of the 1960s he shifted to a more process-oriented and conceptual practice for which he opened his own project gallery, Apple.\n\nFurther reading\n \nFrom Barrie Bates to Billy Apple, exhibition catalogue, Serpentine Gallery, London 1974, p.9. \nBilly Apple®: British and American Works 1960–69, exhibition catalogue, Mayor Gallery, London 2010, pp.36, 43.\nAndrew Wilson March 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-03-28T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nIn 1961 Ascott became interested in cybernetic theory and adopted cybernetic approaches into his formulation of the Groundcourse at Ealing College of Art (1961–4). For Ascott, cybernetics represented a process of communication and behaviour from which observations of the world could be made. Here, the combination of multiple possibilities achieved by the interrelation of the panels and solid wooden elements, combined with a transparent moveable central panel, allows the work to be created by the viewer whose interaction brings the object into being.\n</div>\n", "display_name": "Display caption", "publication_date": "2016-09-06T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "adults", "body", "clothing and personal items", "emotions, concepts and ideas", "formal qualities", "hat, cap", "head / face", "individuals: male", "inscriptions", "man", "military", "objects", "people", "photographic", "portraits", "repetition", "sailor", "symbols and personifications", "tick", "uniform / kit", "work and occupations" ]

null

false

93 88 201 615 20118 166 195 128 9328 20114 9024 3023 5446

false

artwork

Lithograph on primed canvas

[ { "append_role_to_name": false, "date": "1935–2021", "fc": "Billy Apple", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/billy-apple-5200" } ]

118,516

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999975, "shortTitle": "Contemporary Art Society" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,962

<a href="https://www.tate.org.uk/art/artists/billy-apple-5200" aria-label="More by Billy Apple" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Billy Apple</a>

Self Portraits Apple Sees Red on Green

2,013

[]

Presented by the Contemporary Art Society 2013

T13877

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

421 437

7008136 7001766 7000508 1008380 1000226 1000006

Billy Apple

1,962

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Self Portraits (Apple Sees Red on Green) 1962 is from a series of twelve near-identical canvases that incorporate colour photographs of the artist Billy Apple taken by Robert Freeman. These photographs were printed on primed canvas using an offset lithographic process, and this work is unique. The portraits show the front and back views of Apple’s blonde-haired head, against green and red backgrounds. The two images are printed side by side towards the top of the portrait-format canvas, and the surrounding area is left blank. The series was originally hung together at head height in Apple’s first solo exhibition, Apple Sees Red: Live Stills at Gallery One, London in April 1963.

false

1

https://media.tate.org.u…13/T13877_10.jpg

5200

painting lithograph primed canvas

[]

Self Portraits (Apple Sees Red on Green)

1,962

Tate

1962

CLEARED

6

support: 1020 × 765 mm

accessioned work

Tate

Presented by the <a href="/search?gid=999999975" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Contemporary Art Society</a> 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nSelf Portraits (Apple Sees Red on Green) 1962 is from a series of twelve near-identical canvases that incorporate colour photographs of the artist Billy Apple taken by Robert Freeman. These photographs were printed on primed canvas using an offset lithographic process, and this work is unique. The portraits show the front and back views of Apple’s blonde-haired head, against green and red backgrounds. The two images are printed side by side towards the top of the portrait-format canvas, and the surrounding area is left blank. The series was originally hung together at head height in Apple’s first solo exhibition, Apple Sees Red: Live Stills at Gallery One, London in April 1963.\nThe self-portraits in the Apple Sees Red series acted like publicity shots to herald a new brand or product. The form and pose of the image read like a mugshot, while Apple’s naked neck and shoulders suggest rebirth. The Apple Sees Red self-portraits were made shortly after the artist changed his identity from Barrie Bates – the name he was still using when he went to the Royal College of Art (RCA), London in 1959 – to Billy Apple in 1962. In the summer of 1961 Apple and fellow RCA student David Hockney visited New York together for two months, where they discovered the hair colouring product Lady Clairol Instant Crème Whip. Hockney’s transformation into a blonde using this product was recorded in the third plate of his sequence of prints A Rake’s Progress, entitled The Start of the Spending Spree and the Door Opening for a Blonde 1961–3 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hockney-3-the-start-of-the-spending-spree-and-the-door-opening-for-a-blonde-p07033\" title=\"View the details of this artwork\">P07033</a>). Apple’s own transformation at the same time –evidenced in the blonde hair seen in these self-portraits – also marked the preliminary outward manifestation of his change of identity from Bates to Apple, which eventually took place on 22 November 1962 after he had graduated. The location chosen for this event was the studio and home of artist Richard Smith. Self Portraits (Apple Sees Red on Green) is thus one of a number of objects conveying his re-invented self identity, his new ‘Billy Apple brand’. This also included Relation of Aesthetic Choice to Life Activity (Function) of the Subject) 1961–2 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/apple-relation-of-aesthetic-choice-to-life-activity-function-of-the-subject-t13876\" title=\"View the details of this artwork\">T13876</a>).\nThe Apple Sees Red works exemplify Apple’s idiosyncratic manifestation of pop art, which drew on the language of advertising to convey his own re-branding as a way of blurring the distinctions between art and life, as well as people and products. Apple has explicitly described his aim with this and similar works as an attempt ‘to break down the separation between “art activity” and “life activity”. I decided to use my own identity as the vehicle with which to explore the concept of the artist as “art object” … the art process-work-object and the artist become interchangeable.’ (Quoted in Serpentine Gallery 1974, p.11.)\nDuring his trip to New York in 1961 Apple had spent some time getting work experience at advertising agencies. At Sudler and Hennessey he learned about pitching ideas to a client and met Herb Lubalin, one of the most influential creative directors in New York at that time. The effect of this meeting was galvanising for Apple; Lubalin, art historian Christina Barton has explained,\n\n<blockquote>taught him about the importance of a clear concept and the power of typography to convey it. On the strength of this and related experiences, Apple quickly began to privilege the idea as the driving force for any work, using media (typography, photography, painting and bronze casting, drawing, printing and film) as means to convey the concept and delegating others the job of realising his vision. (Barton in Mayor Gallery 2010, p.14.)</blockquote>\nAfter the Gallery One show in 1963 Apple moved to New York, where he continued to produce pop-related work, often using neon, and exhibited at the Bianchini Gallery, Howard Wise Gallery and the Pepsi Cola Gallery. By the end of the 1960s he shifted to a more process-oriented and conceptual practice for which he opened his own project gallery, Apple.\n\nFurther reading\n \nFrom Barrie Bates to Billy Apple, exhibition catalogue, Serpentine Gallery, London 1974, p.9. \nBilly Apple®: British and American Works 1960–69, exhibition catalogue, Mayor Gallery, London 2010, pp.36, 43.\nAndrew Wilson March 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-03-28T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "actions: expressive", "adults", "Apple, Billy", "artist - non-specific", "arts and entertainment", "body", "emotions, concepts and ideas", "formal qualities", "head / face", "man", "named individuals", "people", "photographic", "portraits", "self-portraits", "smiling", "work and occupations" ]

null

false

177 198 118 93 615 195 9328 20114 20116 2155

false

artwork

Fur fabric, fibreglass, plywood and plaster

[ { "append_role_to_name": false, "date": "born 1955", "fc": "Eric Bainbridge", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/eric-bainbridge-17808" } ]

118,517

[ { "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" } ]

1,988

<a href="https://www.tate.org.uk/art/artists/eric-bainbridge-17808" aria-label="More by Eric Bainbridge" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Eric Bainbridge</a>

More Blancmange

2,013

[]

Presented by Tate Patrons 2013

T13878

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

1028929 7008127 7002445 7008591

Eric Bainbridge

1,988

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More Blancmange 1988 is a large sculpture by Eric Bainbridge comprised of six enlarged spoons standing lined up in a shallow box. The work is made of fibreglass, plywood and plaster covered with white artificial fur fabric. It is displayed on the floor, leaning against the gallery wall. The title of the work refers to the dessert blancmange, traditionally made of milk or cream and therefore often appearing white in colour, which became associated with middle and working class cuisine in post-war England. The addition of ‘more’ suggests an excess of this often sickly food, relating to the large scale of these otherwise everyday objects.

false

1

https://media.tate.org.u…13/T13878_10.jpg

17808

sculpture fur fabric fibreglass plywood plaster

[]

More Blancmange

1,988

Tate

1988

CLEARED

8

object: 2440 × 3050 × 230 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> 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nMore Blancmange 1988 is a large sculpture by Eric Bainbridge comprised of six enlarged spoons standing lined up in a shallow box. The work is made of fibreglass, plywood and plaster covered with white artificial fur fabric. It is displayed on the floor, leaning against the gallery wall. The title of the work refers to the dessert blancmange, traditionally made of milk or cream and therefore often appearing white in colour, which became associated with middle and working class cuisine in post-war England. The addition of ‘more’ suggests an excess of this often sickly food, relating to the large scale of these otherwise everyday objects.\nLike a number of other British artists of his generation, Bainbridge’s work from the 1980s was characterised by removing objects from their usual setting and representing them transformed. As the artist has written of More Blancmange:\n\n<blockquote>The work is based on a box of ‘ivory’ souvenir/presentation spoons bought in a charity shop. The initial interest was the snug fit of the spoons in the box and the potential ridiculousness of the subsequent enlargement of the objects, and their increased sense of vulnerability when displayed at the increased scale. At this time I was becoming interested in finding existing objects to remake that already contained the sculptural qualities that I liked (rather than combining various objects as I had done earlier). (Bainbridge, email correspondence with Tate curator Katharine Stout, February 2013.)</blockquote>\nBainbridge’s interest in everyday objects suggests a relationship to surrealism and particularly Meret Oppenheim’s Object 1936 (Museum of Modern Art, New York), which also used artificial fur. Like Oppenheim’s fur-covered teacup, saucer and teaspoon, More Blancmange sets up an uncanny encounter to surprise the viewer. The furry white surface of the spoons contrasts with their usual smoothness, provoking a strange sensation. This effect is common to Bainbridge’s work of the period, which encourages a way of experiencing art that is not solely visual. An encounter with More Blancmange provokes an awareness of one’s own body, either because of the object’s overwhelming size or the familiar, but unexpected, texture of the coverings. As the curator Stuart Morgan remarked in 1990, ‘The fabric unified surfaces, blurred edges and served to camouflage the familiar but magnified objects he [Bainbridge] chose to remake. His technique had become one of systematic bafflement. Dwarfed by overblown, woolly but somehow familiar shapes, the spectator wandered, intimidated by the new self assurance these artefacts had acquired.’ (Morgan in Riverside Studios 1990, p.6.)\nThe use of fabric in Bainbridge’s work can also be aligned to the work of pop artists such as the American sculptor Claes Oldenburg (see Soft Drainpipe – Blue (Cool) Version 1967, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/oldenburg-soft-drainpipe-blue-cool-version-t01257\" title=\"View the details of this artwork\">T01257</a>) or British sculptor Jann Haworth (see Beads and Background 1963–4, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/haworth-beads-and-background-t13643\" title=\"View the details of this artwork\">T13643</a>). Like these artists, Bainbridge exaggerates everyday objects, suggesting new ways of relating to the things that surround us day to day. However, Bainbridge’s work is less concerned with the softness and material form of fabric, than the particular response that the fur or colour provokes in the viewer when used as a covering for other objects. As Bainbridge has described:\n\n<blockquote>The work [More Blancmange] is from the final group of fur works (after this the fur was turned inwards and the rear side of the fabric was displayed). The white works were intended to play on the concept of newness/cleanness (white goods) and the inevitable degrading through time – as in the use of white in the paintings of Malevich and Mondrian … The simplicity and dumbness of the image gives this work an accessibility and popular appeal. (Eric Bainbridge, email correspondence with Tate curator Katharine Stout, February 2013.)</blockquote>\n\nFurther reading\n \nEric Bainbridge, Style, Space, Elegance, exhibition catalogue, Stedelijk Museum, Amsterdam 1989. \nEric Bainbridge, exhibition catalogue, Riverside Studios, London 1990. \nEric Bainbridge: Forward Thinking 1976–2008, exhibition catalogue, Middlesbrough Institute of Modern Art, Middlesbrough 2008.\nKatharine Stout February 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-06-26T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "emotions, concepts and ideas", "formal qualities", "humour", "kitchen", "objects", "repetition", "spoon", "universal concepts" ]

null

false

5443 84 9024 22784 30

false

artwork

Fibreglass, resin, wood and metal

[ { "append_role_to_name": false, "date": "1935–2018", "fc": "Victor Newsome", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/victor-newsome-7361" } ]

118,518

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

1,963

<a href="https://www.tate.org.uk/art/artists/victor-newsome-7361" aria-label="More by Victor Newsome" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Victor Newsome</a>

Two Craters Two Blind Holes

2,013

[]

Purchased 2013

T13879

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

7010442 7019038 7002445 7008591

Victor Newsome

1,963

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Two Craters (Two Blind Holes) 1963 is an almost square canvas and fibreglass structure built up over a wooden armature, all held within a carved and studded wooden frame. From a fleshily smooth yet patinated surface two protruding holes push forward, as described by the title. When the work was first exhibited at the Grabowski Gallery, London in 1964, it was under the title Two Blind Holes, suggestive of body parts and a troubling loss of sense. More recently, however, it has assumed the title Two Craters, which is more abstract and geological in connotation, followed by the original title in brackets. The ambiguity of reading that this suggests was very much a concern of Newsome’s, something the critic William Packer has explained with regard to his sculptures of this period: ‘His clear preoccupation … was not so much with form and mass modelled and established for themselves, but rather with the definition and encapsulation of space as itself an entity, if only ideally so, with all its innate physical contradictions, ambiguities and problematical illusions’ (William Packer, ‘Victor Newsome’, in Victor Newsome: Paintings and Drawings, exhibition catalogue, Marlborough Fine Art, London 1987, p.6).

false

1

https://media.tate.org.u…13/T13879_10.jpg

7361

relief fibreglass resin wood metal

[]

Two Craters (Two Blind Holes)

1,963

Tate

1963

CLEARED

7

object: 1460 × 1450 × 320 mm

accessioned work

Tate

Purchased 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nTwo Craters (Two Blind Holes) 1963 is an almost square canvas and fibreglass structure built up over a wooden armature, all held within a carved and studded wooden frame. From a fleshily smooth yet patinated surface two protruding holes push forward, as described by the title. When the work was first exhibited at the Grabowski Gallery, London in 1964, it was under the title Two Blind Holes, suggestive of body parts and a troubling loss of sense. More recently, however, it has assumed the title Two Craters, which is more abstract and geological in connotation, followed by the original title in brackets. The ambiguity of reading that this suggests was very much a concern of Newsome’s, something the critic William Packer has explained with regard to his sculptures of this period: ‘His clear preoccupation … was not so much with form and mass modelled and established for themselves, but rather with the definition and encapsulation of space as itself an entity, if only ideally so, with all its innate physical contradictions, ambiguities and problematical illusions’ (William Packer, ‘Victor Newsome’, in Victor Newsome: Paintings and Drawings, exhibition catalogue, Marlborough Fine Art, London 1987, p.6).\nBetween 1962 and 1963 Newsome taught at Leicester School of Art under Tom Hudson, then Head of Foundation Studies, alongside a number of artists who became known as the Leicester Group – notably Christina Bertoni, Laurence Burt, Michael Chilton, Michael Sandle and Terry Setch. They exhibited together as a group in 1963 in an exhibition at Leicester Museum and then the following year in an exhibition curated by the critic Jasia Reichardt at the Grabowski Gallery in London, under the title The Inner Image. Making objects rather than sculptures, these artists, Reichardt argued, produce work that is ‘abstract to a degree … not directly evocative of any definite subject, but they often make oblique allusions to something quite specific’, noting how Newsome in particular creates ‘effigies representing the personal responses to very diverse themes which are often simultaneously socio-philosophical comments on the world at large’ (Jasia Reichardt, ‘The Leicester Group’, in Grabowski Gallery 1964, unpaginated).\nReichardt explained how removed the artists of the Leicester Group were from the prevailing trends of contemporary art found in London – action painting, large-scale non-tactile abstraction, hard-edge painting, new figuration, optical painting and kinetic art – allying them solely to broad categories of ‘object-making and assemblage’ (Reichardt 1964, unpaginated). Even though they were involved in popular culture and the stuff of the urban environment, they did not approach such sources in a celebratory way but instead in terms of ‘cryptic hints and symbolic references’ (Reichardt 1964, unpaginated). Newsome’s transformations of body and machine echo similar explorations found within pop art, but the fetishistic sensuality of Two Craters (Two Blind Holes) or the totemic power of the slightly later work Broken Cross 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/newsome-broken-cross-t13880\" title=\"View the details of this artwork\">T13880</a>) – a road sign fragment acting as a head – also bridge the gap between pop and the personal obsessions previously unlocked through surrealism.\n\nTwo Craters (Two Blind Holes) was exhibited in The Inner Image at the Grabowski Gallery in 1964.\n\nFurther reading\n \nThe Inner Image, exhibition catalogue, Grabowski Gallery, London 1964, no.22. \nVictor Newsome, exhibition catalogue, Grabowski Gallery, London 1966. \nTransition: The Inner Image Revisited, exhibition catalogue, Art Space Gallery, London 2011.\nAndrew Wilson December 2012\n</div>\n", "display_name": "Summary", "publication_date": "2018-03-28T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "abstraction", "blindness / cataract / myopia", "body", "crater", "diseases and conditions", "figure", "from recognisable sources", "head / face", "irregular forms", "landscape", "landscape", "non-representational", "people" ]

null

false

1019 93 12448 178 221 189 615 796 223 185

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artwork

Wood, aluminium, glass and lacquer

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118,519

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1,964

<a href="https://www.tate.org.uk/art/artists/victor-newsome-7361" aria-label="More by Victor Newsome" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Victor Newsome</a>

Broken Cross

2,013

[]

Purchased 2013

T13880

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7010442 7019038 7002445 7008591

Victor Newsome

1,964

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Broken Cross 1964 is an aluminium and lacquered wood structure. The broken cross of the title is an ‘X’, the arms of which are hinged and can be opened and closed. In its closed state one edge of the upper right arm is described not by a hinged box flap but by painted dowelling rods and the ‘X’ as a whole appears black. In its open state the surface of the ‘X’ is revealed as an incised and burnished aluminium sheet that has been fitted onto the wooden hinged box structure. In this state it is the lower right arm of the ‘X’ that is broken, a section of the aluminium sheet cut away to reveal the red lacquer surface of the box. Between the upper arms of the ‘X’ a circle of red glass road sign reflectors has been mounted onto a recessed section of aluminium panel. Such use of found materials was common in Newsome’s constructions, and the inclusion here of a material with a reflective quality (and additionally a material that has recognisably been part of a sign) is an example of how fragments of an urban environment could be taken and invested with an emotive power.

false

1

https://media.tate.org.u…13/T13880_10.jpg

7361

relief wood aluminium glass lacquer

[]

Broken Cross

1,964

Tate

1964

CLEARED

7

object: 920 × 710 × 270 mm

accessioned work

Tate

Purchased 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nBroken Cross 1964 is an aluminium and lacquered wood structure. The broken cross of the title is an ‘X’, the arms of which are hinged and can be opened and closed. In its closed state one edge of the upper right arm is described not by a hinged box flap but by painted dowelling rods and the ‘X’ as a whole appears black. In its open state the surface of the ‘X’ is revealed as an incised and burnished aluminium sheet that has been fitted onto the wooden hinged box structure. In this state it is the lower right arm of the ‘X’ that is broken, a section of the aluminium sheet cut away to reveal the red lacquer surface of the box. Between the upper arms of the ‘X’ a circle of red glass road sign reflectors has been mounted onto a recessed section of aluminium panel. Such use of found materials was common in Newsome’s constructions, and the inclusion here of a material with a reflective quality (and additionally a material that has recognisably been part of a sign) is an example of how fragments of an urban environment could be taken and invested with an emotive power.\n\nBroken Cross embodies a key aspect of Newsome’s early work. With little obvious reference to the human body, constructed works such as this achieve a quality of fetishism through their finish (most noticeably the use of lacquer, which had been suggested by Newsome’s colleague at Leicester School of Art, Tom Hudson, and the contrasting materials and surface) and through their projection of totemic power. These are clearly defined objects – for Newsome they had a hermetic quality that he identified with jewellery – and yet their figuration is ambiguous. This is also the case with works such as Two Craters (Two Blind Holes) 1963 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/newsome-two-craters-two-blind-holes-t13879\" title=\"View the details of this artwork\">T13879</a>). In 1964 Newsome characterised works like Broken Cross as:\n\n<blockquote>evocative rather than representational. Its presence is actual rather than illusionistic, in the way that tables and doors and cabinets are actual and uncompromising. It deals with two aspects of the duality of figurative symbolism (which itself is a duality). With symbols of the figure and parts of the figure, as found in everyday objects such as pots and pans and motor cars, and with the figure as a symbol of the duality of opposites such as love and war, comedy and horror, serenity and lust. (Artist’s statement in Grabowski Gallery 1964, unpaginated.)</blockquote>\nFor Newsome, the potential for change in these hinged constructions was concerned with capturing that duality found through ‘magic-animation and evocation’; he explained that the work should not be located in terms of kinetic art but arose from ‘an idea which came to me whilst looking at the moon – about life and death, waking and sleep, day and night, and the changing aspect of things’ (Artist’s statement in Grabowski Gallery 1966, unpaginated).\nBetween 1962 and 1963 Newsome taught at Leicester School of Art under Tom Hudson, then Head of Foundation Studies, alongside a number of artists who became known as the Leicester Group – notably Christina Bertoni, Laurence Burt, Michael Chilton, Michael Sandle and Terry Setch. They exhibited together as a group in 1963 in an exhibition at Leicester Museum and then the following year in an exhibition curated by the critic Jasia Reichardt at the Grabowski Gallery in London, under the title The Inner Image. Making objects rather than sculptures, these artists, Reichardt argued, produce work that is ‘abstract to a degree … not directly evocative of any definite subject, but they often make oblique allusions to something quite specific’, noting how Newsome in particular creates ‘effigies representing the personal responses to very diverse themes which are often simultaneously socio-philosophical comments on the world at large’ (Jasia Reichardt, ‘The Leicester Group’, in Grabowski Gallery 1964, unpaginated).\nReichardt explained how removed the artists of the Leicester Group were from the prevailing trends of contemporary art found in London – action painting, large-scale non-tactile abstraction, hard-edge painting, new figuration, optical painting and kinetic art – allying them solely to broad categories of ‘object-making and assemblage’ (Reichardt 1964, unpaginated). Even though they were involved in popular culture and the stuff of the urban environment, they did not approach such sources in a celebratory way but instead in terms of ‘cryptic hints and symbolic references’ (Reichardt 1964, unpaginated). Newsome’s transformations of body and machine echo similar explorations found within pop art, but the totemic power of Broken Cross – a road sign fragment acting as a head – or the fetishistic sensuality of the slightly earlier Two Craters (Two Blind Holes) also bridge a gap between pop and the personal obsessions previously unlocked through surrealism.\n\nBroken Cross was exhibited in Victor Newsome at the Grabowski Gallery in 1966.\n\nFurther reading\n \nThe Inner Image, exhibition catalogue, Grabowski Gallery, London 1964. \nVictor Newsome, exhibition catalogue, Grabowski Gallery, London 1966, no.6. \nTransition: The Inner Image Revisited, exhibition catalogue, Art Space Gallery, London 2011.\nAndrew Wilson December 2012\n</div>\n", "display_name": "Summary", "publication_date": "2018-03-28T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "abstraction", "cross", "emotions, concepts and ideas", "formal qualities", "fragmentation", "geometric", "non-representational", "objects", "religious and ceremonial" ]

null

false

1320 6919 226 185 169

false

artwork

Oranges, wood, plastic

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118,521

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1,967

<a href="https://www.tate.org.uk/art/artists/roelof-louw-1528" aria-label="More by Roelof Louw" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Roelof Louw</a>

Soul City Pyramid Oranges

2,013

[]

Presented by Tate Patrons 2013

T13881

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

421

7000811 7017584 1000193 7001242

Roelof Louw

1,967

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This sculpture starts as a pyramid made from about 5800 oranges. The shape is similar to an oversized market stall display. Viewers are invited to take one orange each, gradually consuming the work. Even if no one takes them, the work will still eventually rot and disintegrate. In the late 1960s, Louw was one of the artists connected to London’s Saint Martin’s School of Art who radically pushed the boundaries of sculpture. In his own words, he wanted ‘to ask questions about the direct “interactive” relationship between sculptural works and the environments they are placed within.’Gallery label, January 2020

false

1

https://media.tate.org.u…13/T13881_10.jpg

1528

sculpture oranges wood plastic

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Soul City (Pyramid of Oranges)

1,967

Tate

1967

CLEARED

8

object: 1524 × 1667 × 1667 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> 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nSoul City (Pyramid of Oranges) 1967 is a sculpture made by the artist Roelof Louw. It is comprised of fresh, thick-skinned oranges, stacked into the shape of a pyramid within a square wooden batten frame that delimits a grey plastic groundsheet on which the oranges sit. The work is initially made up of about 5,800 oranges but as viewers are invited, if they so choose, to take one orange from the stack, the structure gradually dwindles and changes form. Each time the piece is shown, fresh oranges are used. Although there is one artist’s exhibition copy, this cannot be sold to or acquired by any other collection, so Tate’s work is in effect unique. The work was first exhibited for two weeks in the exhibition The Orange Pyramid Show at the Arts Lab in London in October 1967, following an open submission for exhibition proposals from artists. It was documented in Studio International magazine in January 1969 where, alongside photographs showing the successive dismantling of the pyramid as people helped themselves to the oranges over time, Louw described the work and his intentions in making it:\n\n<blockquote>The pyramid (5′-6″ sq x 5′-0″ high) was built from about 5,800 oranges. Everyone who entered the gallery was invited to help himself to the oranges. The sculpture lasted for two weeks. \n One aspect of the sculpture was the use of material ‘on its own terms’ to create an ‘affective’ situation. Another was that it should relate to a specific place and the people that go there. (Quoted in ‘Sculptors at Stockwell Depot’, Studio International, vol.177, no.907, January 1969, p.35.)</blockquote>\nThe pyramidal form adopted by Soul City (Pyramid of Oranges) is the manner in which oranges might usually be stacked in a greengrocer’s display. At five foot six inches square, the dimensions of the pyramid’s square base evoke human proportions. The final structure is both rationally arrived at and ordered, and yet evokes a sense of collapse or dynamic change. Left untouched, the material of the sculpture – the oranges – would, over time, putrefy and disintegrate even without the intervention of visitors helping themselves to the fruit. However, the stack of oranges is also an open invitation that encourages another form of organic disruption, as viewers remove one orange at a time. This participation was signalled by the position of the work at the entrance of the Arts Lab when it was exhibited there in 1967. In 2000 Louw described how, ‘Each person who enters the gallery will be invited to take an orange. (At the Arts Lab, people helped themselves more generously.) By taking an orange, each person changes the molecular form of the stack of oranges, and participates in “consuming” its presence. (The full implications of this action are left to the imagination.)’ (Roelof Louw, unpublished artist’s ‘General Description’ of Soul City (Pyramid of Oranges), 2000.) The Arts Lab was one of the centres for countercultural activity in London where boundaries between art, theatre, literature, music, science and activism of all kinds were fruitfully abandoned. Within this hippy milieu Louw’s work provided an evocative link between the social aspirations and ethos that the Arts Lab embodied and the different types of sculptural experimentation carried out by artists such as Barry Flanagan, John Latham, Mark Boyle and Gustav Metzger.\nRoelof Louw had been a student in the sculpture department at St Martin’s School of Art, London between 1961 and 1965, but had increasingly found the teaching and influence of Anthony Caro and the New Generation sculptors, such as Michael Bolus, Philip King and Isaac Witkin, both restrictive and incompatible with his own sculptural interests. He returned to teach in different capacities at St Martin’s between 1967 and 1971 at a time when Caro’s influence, especially through the vocational sculpture course, was being challenged by a new group of artists who placed the condition of the art object under question. Soul City (Pyramid of Oranges) signals the direction in which Louw’s own work was moving, away from the recent orthodoxies of modernist sculpture – which emphasised expressive form, different perspectival views and representational associations also recognisable in New Generation sculpture – towards a concern with materials valued for their own properties, as well as the relation of sculpture to context and so to the viewer. This led Louw not only to rethink how sculpture could operate in space and time, but also ‘to ask questions about the direct “interactive” relationship between sculptural works and the environments they are placed within. Is it possible to make a sculptural work that “operates” as an integral part of the “social life” a place supports.’ (Roelof Louw, untitled statement, in Whitechapel Art Gallery 2000, p.125.) Such ideas found form in Soul City (Pyramid of Oranges) and were further crystallised through the next year at the Stockwell Depot, which provided studios for Louw and other sculptors such as Roland Brenner, David Evison, Roger Fagin, John Fowler, Gerard Hemsworth and Peter Hide.\nAfter its first exhibition at the Arts Lab in October 1967, Soul City (Pyramid of Oranges) was not exhibited again until the survey exhibition Live In Your Head: Concept and Experiment in Britain 1965–1975 at the Whitechapel Art Gallery, London in 2000. Following this it has subsequently been shown at Tate Britain, London in 2007 in a display that investigated the St Martin’s Sculpture Department 1964–71; in the survey exhibition United Enemies: The Problem of Sculpture in Britain in the 1960s and 1970s at the Henry Moore Institute, Leeds in 2011–12; and in David Bowie Is at the Victoria and Albert Museum, London in 2013.\n\nFurther reading\n Roelof Louw, Exhibition of Sculpture: Location, exhibition catalogue, Museum of Modern Art, Oxford 1969. \nThe British Avant Garde, exhibition catalogue, New York Cultural Center, New York 1971. \nLive in your Head: Concept and Experiment in Britain 1965–75, exhibition catalogue, Whitechapel Art Gallery, London 2000, pp.124–5.\nAndrew Wilson March 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-06-19T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThis sculpture starts as a pyramid made from about 5800 oranges. The shape is similar to an oversized market stall display. Viewers are invited to take one orange each, gradually consuming the work. Even if no one takes them, the work will still eventually rot and disintegrate. In the late 1960s, Louw was one of the artists connected to London’s Saint Martin’s School of Art who radically pushed the boundaries of sculpture. In his own words, he wanted ‘to ask questions about the direct “interactive” relationship between sculptural works and the environments they are placed within.’\n</div>\n", "display_name": "Display caption", "publication_date": "2020-01-10T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "abstraction", "colour", "decay", "emotions, concepts and ideas", "ephemerality", "food and drink", "formal qualities", "found object / readymade", "fruit, orange", "geometric", "interaction", "non-representational", "objects", "symmetry", "transformation", "universal concepts" ]

null

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225 2353 5448 286 30029 5921 226 42335 185 6749 5930 30

false

artwork

9 photographs, hand-tinted gelatin silver prints on paper each with found object and printed caption

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118,524

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

1,989

<a href="https://www.tate.org.uk/art/artists/ingrid-pollard-mbe-15859" aria-label="More by Ingrid Pollard MBE" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Ingrid Pollard MBE</a>

Seaside

2,013

[]

Purchased 2013

T13884

{ "id": 4, "meta": { "type": "art.Classification" } }

7011781 7005275 7002571 1000054 1000002

Ingrid Pollard MBE

1,989

[]

Pollard combines photographs, text and objects such as seashells and sticks of rock, sold as souvenirs at the British seaside. Pollard places herself in these images, taken in the English coastal town of Hastings. She chose the location because of its history of invasion. The year 1066 was the moment when Norman forces invaded England. By photographing herself, a Black woman born in Guyana who moved to Britain as a child, against the backdrop of this historically significant place, Pollard makes reference to both migration and invasion.Gallery label, October 2022

false

1

https://media.tate.org.u…T13/T13884_9.jpg

15859

paper print 9 photographs hand-tinted gelatin silver prints found object printed caption

[ { "artistRoomsTour": false, "dateText": "11 March 2022 – 25 September 2022", "endDate": "2022-09-25", "exhibitionLegs": [ { "dateText": "11 March 2022 – 29 May 2022", "endDate": "2022-05-29", "id": 14176, "startDate": "2022-03-11", "venueName": "MK Gallery (Milton Keynes, UK)", "venueWebsiteUrl": null }, { "dateText": "9 July 2022 – 25 September 2022", "endDate": "2022-09-25", "id": 14737, "startDate": "2022-07-09", "venueName": "Turner Contemporary (Margate, UK)", "venueWebsiteUrl": null } ], "id": 11708, "startDate": "2022-03-11", "title": "Ingrid Pollard", "type": "Loan-out" } ]

Seaside Series

1,989

Tate

1989

CLEARED

4

frame, each: 600 × 446 × 75 mm

accessioned work

Tate

Purchased 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nPollard combines photographs, text and objects such as seashells and sticks of rock, sold as souvenirs at the British seaside. Pollard places herself in these images, taken in the English coastal town of Hastings. She chose the location because of its history of invasion. The year 1066 was the moment when Norman forces invaded England. By photographing herself, a Black woman born in Guyana who moved to Britain as a child, against the backdrop of this historically significant place, Pollard makes reference to both migration and invasion.\n</div>\n", "display_name": "Display caption", "publication_date": "2022-10-28T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[]

null

false

artwork

11 hand-tinted gelatin silver prints on paper with text

[ { "append_role_to_name": false, "date": "born 1953", "fc": "Ingrid Pollard MBE", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/ingrid-pollard-mbe-15859" } ]

118,525

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

1,989

<a href="https://www.tate.org.uk/art/artists/ingrid-pollard-mbe-15859" aria-label="More by Ingrid Pollard MBE" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Ingrid Pollard MBE</a>

Oceans Apart

2,013

[]

Purchased 2013

T13885

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

7011781 7005275 7002571 1000054 1000002

Ingrid Pollard MBE

1,989

[]

Oceans Apart presents the Atlantic Ocean as a physical and psychological space. Pollard juxtaposes historical imagery of British colonisation and slavery in the Atlantic world with personal family photographs accompanied by brief first-person texts. One panel combines a photograph of crashing waves with snapshots from her childhood and the lines, ‘my dear daughter now we are oceans apart ... oceans apart ... oceans apart’, referencing Pollard’s father’s departure from Guyana to England before the family could join him. Pollard centres the experiences and representation of Black Caribbean subjects, showing how personal narratives speak to broader histories.Gallery label, January 2022

false

1

https://media.tate.org.u…T13/T13885_9.jpg

15859

paper unique 11 hand-tinted gelatin silver prints text

[ { "artistRoomsTour": false, "dateText": "30 January 2019 – 2 June 2019", "endDate": "2019-06-02", "exhibitionLegs": [ { "dateText": "30 January 2019 – 2 June 2019", "endDate": "2019-06-02", "id": 10954, "startDate": "2019-01-30", "venueName": "The Lightbox (Woking, UK)", "venueWebsiteUrl": "http://www.thelightbox.org/" } ], "id": 9038, "startDate": "2019-01-30", "title": "British Woman in Photography", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "1 December 2021 – 3 April 2022", "endDate": "2022-04-03", "exhibitionLegs": [ { "dateText": "1 December 2021 – 3 April 2022", "endDate": "2022-04-03", "id": 13522, "startDate": "2021-12-01", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 11148, "startDate": "2021-12-01", "title": "Life Between Islands: Caribbean-British Art 1950s - Now", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "5 May 2022 – 4 September 2022", "endDate": "2022-09-04", "exhibitionLegs": [ { "dateText": "5 May 2022 – 4 September 2022", "endDate": "2022-09-04", "id": 14332, "startDate": "2022-05-05", "venueName": "Tate Liverpool (Liverpool, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/liverpool/" }, { "dateText": "1 October 2022 – 22 January 2023", "endDate": "2023-01-22", "id": 15175, "startDate": "2022-10-01", "venueName": "Mead Gallery (Coventry, UK)", "venueWebsiteUrl": "http://www.warwickartscentre.co.uk" } ], "id": 11820, "startDate": "2022-05-05", "title": "Radical Landscapes", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "7 October 2022 – 18 February 2024", "endDate": "2024-02-18", "exhibitionLegs": [ { "dateText": "7 October 2022 – 18 December 2022", "endDate": "2022-12-18", "id": 15035, "startDate": "2022-10-07", "venueName": "Mead Gallery (Coventry, UK)", "venueWebsiteUrl": "http://www.warwickartscentre.co.uk" }, { "dateText": "6 February 2023 – 30 April 2023", "endDate": "2023-04-30", "id": 15325, "startDate": "2023-02-06", "venueName": "Art Explora (Liverpool, UK)", "venueWebsiteUrl": null } ], "id": 12363, "startDate": "2022-10-07", "title": "Radical Landscapes", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "1 December 2023 – 30 April 2024", "endDate": "2024-04-30", "exhibitionLegs": [ { "dateText": "1 December 2023 – 30 April 2024", "endDate": "2024-04-30", "id": 15391, "startDate": "2023-12-01", "venueName": "Art Gallery of Ontario (Toronto, Canada)", "venueWebsiteUrl": "http://www.ago.net" } ], "id": 12634, "startDate": "2023-12-01", "title": "Life Between Islands", "type": "Loan-out" } ]

Oceans Apart

1,989

Tate

1989

CLEARED

5

unconfirmed, each: 628 × 525 × 35 mm

accessioned work

Tate

Purchased 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nOceans Apart presents the Atlantic Ocean as a physical and psychological space. Pollard juxtaposes historical imagery of British colonisation and slavery in the Atlantic world with personal family photographs accompanied by brief first-person texts. One panel combines a photograph of crashing waves with snapshots from her childhood and the lines, ‘my dear daughter now we are oceans apart ... oceans apart ... oceans apart’, referencing Pollard’s father’s departure from Guyana to England before the family could join him. Pollard centres the experiences and representation of Black Caribbean subjects, showing how personal narratives speak to broader histories.\n</div>\n", "display_name": "Display caption", "publication_date": "2022-01-28T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[]

null

false

artwork

Video, projection, colour

[ { "append_role_to_name": false, "date": "born 1974", "fc": "Anna Barham", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/anna-barham-12686" } ]

118,526

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

2,009

<a href="https://www.tate.org.uk/art/artists/anna-barham-12686" aria-label="More by Anna Barham" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Anna Barham</a>

Magenta Emerald Lapis

2,013

[]

Purchased 2013

T13886

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

1030803 7019028 7002445 7008591

Anna Barham

2,009

[]

Magenta, Emerald, Lapis is a colour digital projection in which Barham uses a tangram puzzle (a square cut into seven pieces that can be re-formed in various ways) to create letterforms, eventually building up words into phrases that are anagrams of the work’s title. In the projection, the tangram pieces are shuffled and reshuffled until they become recognisable as letters, demonstrating how composite symbols can be transformed by the reordering of their parts. The work exists as a Quicktime file on a USB memory stick and has to be projected directly from a computer. The resolution of the image is 1024 x 768 pixels. It exists in an edition of three, and Tate’s copy is number three in the edition. Each edition is accompanied by a certificate of authentication printed on a unique blind embossing of the shapes from the film. The work was originally conceived to be accompanied by a structure for viewers to sit on made from tangram shapes like those being manipulated in the film. The seating is reconfigurable to make a new arrangement to suit each venue where the work is exhibited. However, the projection can also be shown without the seating.

false

1

https://media.tate.org.u…T13/T13886_9.jpg

12686

installation video projection colour

[ { "artistRoomsTour": false, "dateText": "4 March 2023 – 10 September 2023", "endDate": "2023-09-10", "exhibitionLegs": [ { "dateText": "4 March 2023 – 10 September 2023", "endDate": "2023-09-10", "id": 15406, "startDate": "2023-03-04", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 12649, "startDate": "2023-03-04", "title": "Anna Barham", "type": "Collection based display" } ]

Magenta, Emerald, Lapis

2,009

Tate

2009

CLEARED

3

duration: 30min, 3sec

accessioned work

Tate

Purchased 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nMagenta, Emerald, Lapis is a colour digital projection in which Barham uses a tangram puzzle (a square cut into seven pieces that can be re-formed in various ways) to create letterforms, eventually building up words into phrases that are anagrams of the work’s title. In the projection, the tangram pieces are shuffled and reshuffled until they become recognisable as letters, demonstrating how composite symbols can be transformed by the reordering of their parts. The work exists as a Quicktime file on a USB memory stick and has to be projected directly from a computer. The resolution of the image is 1024 x 768 pixels. It exists in an edition of three, and Tate’s copy is number three in the edition. Each edition is accompanied by a certificate of authentication printed on a unique blind embossing of the shapes from the film. The work was originally conceived to be accompanied by a structure for viewers to sit on made from tangram shapes like those being manipulated in the film. The seating is reconfigurable to make a new arrangement to suit each venue where the work is exhibited. However, the projection can also be shown without the seating.\nBarham works with video, sculpture, drawing and performance, and she often focuses on the interplay between a system and the potential it offers. Much of her work centres on poetic texts created using a self-prescribed set of rules and, in particular, the rules of the anagram, a word play that is the result of rearranging the letters of a word or phrase to produce a new word or phrase, using all the original letters exactly once. Barham has been working with anagrams since 2007, her interest stemming from the idea of revealing a word’s ‘unconscious’ meaning by exploiting its associative potential. She has explained that this word play has ‘a literal sense, but no explicit meaning. It sets up a situation where meaning has to be actively constructed by the viewer. It allows for something to happen and be generated’ (quoted in Desclaux 2011, p.101).\nBarham combined her fascination with anagrams with her interest in the story of the archaeological discovery of the ancient Phoenician city of Leptis Magna in modern-day Libya, one of the three cities that were later collectively called Tripolis, from which Libya’s capital Tripoli derives its name. Thus the titles of her works are themselves anagrams of the words ‘Leptis Magna’, in numerous different permutations with their own connotations. More recently, in works such as Magenta, Emerald, Lapis and the related Linnet Trumpets Agora 2010 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/barham-linnet-trumpets-agora-t13532\" title=\"View the details of this artwork\">T13532</a>), she has created anagrams of the phrase ‘return to Leptis Magna’, which is also the title of a book she has published which consists entirely of anagrams of the same phrase. Barham was drawn, in particular, to the fragments of the ruins of Leptis Magna that were given to King George IV in 1816, and that were used to build an artificial ruin at Windsor Great Park. For Barham, the detritus of the ruin, a fragile and incomplete construction that had been taken out of context and therefore opened to new meanings, became a point of departure to explore the structure and form of language in a kind of ‘linguistic’ anastylosis, whereby the city’s name is endlessly restored and reconfigured by reassembling its parts and, when necessary, incorporating new ones.\nFollowing the rules of the anagram, Barham’s works apply logic to stretch language to the very limits of its capabilities, to the point when it stops making sense. The rearrangements of letters in Magenta, Emerald, Lapis reflect the formal value of words when considered as individual letters that act as shapes, and play with the capability of language to create meaning and the reader’s insistence on finding it.\n\nFurther reading\n Catherine Wood, ‘Anna Barham’, Creamier: Contemporary Art in Culture: 10 Curators, 100 Contemporary Artists, 10 Sources, London 2010, pp.38–9. Vanessa Desclaux, ‘Anna Barham, Step into Tangram Rule’, Volume, no.2, 2011, pp.91–103.\nCarmen Juliá November 2011\n</div>\n", "display_name": "Summary", "publication_date": "2018-03-08T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[]

null

false

artwork

4 screenprints on paper on card

[ { "append_role_to_name": false, "date": "born 1960", "fc": "Eddie Chambers", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/eddie-chambers-16001" } ]

118,527

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1,979

<a href="https://www.tate.org.uk/art/artists/eddie-chambers-16001" aria-label="More by Eddie Chambers" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Eddie Chambers</a>

Destruction National Front

2,013

[]

Presented by Tate Members 2013

T13887

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

7011008 7019032 7002445 7008591

Eddie Chambers

1,979

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For this work Chambers, co-founder of the Blk Art Group, tore up an image of the Union Jack. In the 1970s the National Front had turned the flag into a symbol for white supremacy. The artist reorganised the torn pieces into a swastika which is dismembered across four panels. The National Front were a far-right, fascist political movement that attacked and intimidated Black and Asian people in Britain. Their popularity peaked at the end of the 1970s. Chambers has said of this time, ‘with such casual, but insistent and explicit ‘in-your-face’ racism, came a range of concerted strategies of combating and resisting that racism’.Gallery label, January 2022

false

1

https://media.tate.org.u…13/T13887_10.jpg

16001

paper unique 4 screenprints card

[ { "artistRoomsTour": false, "dateText": "23 January 2015 – 11 December 2016", "endDate": "2016-12-11", "exhibitionLegs": [ { "dateText": "23 January 2015 – 11 December 2016", "endDate": "2016-12-11", "id": 8691, "startDate": "2015-01-23", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 7131, "startDate": "2015-01-23", "title": "Galleries 45, 46 & 51", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "4 February 2017 – 30 April 2017", "endDate": "2017-04-30", "exhibitionLegs": [ { "dateText": "4 February 2017 – 30 April 2017", "endDate": "2017-04-30", "id": 10908, "startDate": "2017-02-04", "venueName": "Nottingham Contemporary (Nottingham, UK)", "venueWebsiteUrl": "http://www.nottinghamcontemporary.org/" } ], "id": 8998, "startDate": "2017-02-04", "title": "Think Back! Black Art in Britain in the 1980s", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "24 June 2017 – 1 October 2017", "endDate": "2017-10-01", "exhibitionLegs": [ { "dateText": "24 June 2017 – 1 October 2017", "endDate": "2017-10-01", "id": 11296, "startDate": "2017-06-24", "venueName": "Middlesbrough Institute of Modern Art (Middlesbrough, UK)", "venueWebsiteUrl": "http://www.visitmima.com/" } ], "id": 9336, "startDate": "2017-06-24", "title": "There Ain't No Black in the Union Jack", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "2 October 2020 – 13 December 2020", "endDate": "2020-12-13", "exhibitionLegs": [ { "dateText": "2 October 2020 – 13 December 2020", "endDate": "2020-12-13", "id": 14129, "startDate": "2020-10-02", "venueName": "Herbert Art Gallery & Museum (Coventry, UK)", "venueWebsiteUrl": "http://www.theherbert.org" } ], "id": 11673, "startDate": "2020-10-02", "title": "De-centering", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "1 December 2021 – 3 April 2022", "endDate": "2022-04-03", "exhibitionLegs": [ { "dateText": "1 December 2021 – 3 April 2022", "endDate": "2022-04-03", "id": 13522, "startDate": "2021-12-01", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 11148, "startDate": "2021-12-01", "title": "Life Between Islands: Caribbean-British Art 1950s - Now", "type": "Exhibition" } ]

Destruction of the National Front

1,979

Tate

1979–80

CLEARED

5

displayed: 827 × 2392 mm frame, each: 827 × 572 × 18 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

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nDestruction of the National Front by the artist Eddie Chambers is a collage on four panels depicting the deconstruction of an image of the Union flag shaped as a swastika. For the first panel in the sequence, the artist tore up an image of the Union Jack and reorganised it into the form of a swastika. Across the four panels, moving from left to right, the image becomes increasingly torn, with the final panel consisting only of scattered pieces, no longer recognisable as either an image of the flag or the swastika.\nChambers made the work while studying for a foundation course at Coventry Lanchester Polytechnic, shortly after Margaret Thatcher came to power as the Prime Minister of Britain in May 1979. Thatcher’s standing in the polls rose by eleven per cent after a television interview in January 1978 for World in Action in which she claimed that she ‘understood the fears of the British people of being swamped by coloured immigrants’. The political campaign saw the awakening of xenophobic sentiments in some sectors of the population and the rapid rise of the National Front, which reached the peak of its popularity in the 1979 General Election. Chambers has recalled:\n\n<blockquote>When the work was made, the National Front had a very strong presence and the streets of Wolverhampton, where I grew up, were festooned with NF stickers declaring ‘If They’re Black, Send Them Back!’ … With such casual, but insistent and explicit ‘in-your-face’ racism, came a range of concerted strategies of combating and resisting that racism [such as] The Anti-Nazi League, Rock Against Racism, etc. It was in this context that my piece was conceived and made. All the students, all the people who saw [the work], could immediately grasp its references. Such was the presence of the NF at the time. (Email correspondence between the artist and with Tate curator Carmen Juliá, 14 November 2012.)</blockquote>\n\nDestruction of the National Front is a direct response to the appropriation of a national flag by a racist nationalist ideology. In the work Chambers made use of the disruptive connotations of collage and montage to undo the association of the nation with fascism. The destruction of the flag registers its use as a central image of the National Front and the failure of the sequence to result in cohesion acknowledges the painful truth of the racism in Britain. This work should be seen in the context of the years of protest marches, petitions, sit downs and burn-outs, as Black and Asian areas of British cities cried out against unacceptable conditions, racist violence and policing. Historian Jean Fisher has pointed out in her essay titled ‘The Other Story and the Past Imperfect’ how this particular work has come to exemplify the failure of modernism to represent the black subject (Fisher 2009, accessed 9 September 2015).\nAt Lanchester Polytechnic, Chambers met Keith Piper and together they formed the Wolverhampton Black Artists Group. In 1981 they organised their first exhibition under the title Black Art An’ Done at Wolverhampton Art Gallery. The group was later renamed as the BLK Art Group and expanded to include Donald Rodney, Claudette Johnson and others; together they produced a mutating exhibition under the title Pan-Afrikan Connection that toured Britain between 1982 and 1984. Chambers’s outlook, and that of many of the artists associated with him, drew much of its critical force from the shifts in emphasis within the American civil rights and Black Power movements of the 1970s – corollaries of which did not at that time exist in Britain or, at the very least, were not apparent. ‘As Black artists’, Chambers has recalled, ‘we were under obligation to make work which unreservedly aligned itself with the struggle of Black people: we fought against racism in our work, and sought to enhance and be part of a distinctly “Black” culture and its political identity.’ (Eddie Chambers, Run Through the Jungle: Selected Writings by Eddie Chambers, London 1999, p.57.)\n\nDestruction of the National Front was first exhibited in the summer of 1980 in the exhibition Cum Ya, Cum See at Holyhead School and Community Centre, Birmingham. It featured in some of the exhibitions that Chambers organised between 1982 and 1984 and it was also exhibited in The Other Story at the Hayward Gallery in London in 1989.\n\nFurther reading\n \nThe Other Story: Afro-Asian Artists in Post-War Britain, exhibition catalogue, Hayward Gallery, London 1989, reproduced p.72. Rasheed Araeen, ‘The Success and Failure of the Black Arts Movement’, in David A. Bailey, Ian Baucom and Sonia Boyce (eds.), Shades of Black, Durham and London 2005, pp.21–33, reproduced pp.140–1. Jean Fisher, ‘The Other Story and the Past Imperfect’, Tate Papers, no.12, Autumn 2009, <a href=\"http://www.tate.org.uk/research/publications/tate-papers/no-12/the-other-story-and-the-past-imperfect\">http://www.tate.org.uk/research/publications/tate-papers/no-12/the-other-story-and-the-past-imperfect</a>, accessed 9 September 2015\nCarmen Juliá November 2012\n</div>\n", "display_name": "Summary", "publication_date": "2018-03-15T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nFor this work Chambers, co-founder of the Blk Art Group, tore up an image of the Union Jack. In the 1970s the National Front had turned the flag into a symbol for white supremacy. The artist reorganised the torn pieces into a swastika which is dismembered across four panels. The National Front were a far-right, fascist political movement that attacked and intimidated Black and Asian people in Britain. Their popularity peaked at the end of the 1970s. Chambers has said of this time, ‘with such casual, but insistent and explicit ‘in-your-face’ racism, came a range of concerted strategies of combating and resisting that racism’.\n</div>\n", "display_name": "Display caption", "publication_date": "2022-01-28T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "abstraction", "defacement", "destruction", "emotions, concepts and ideas", "fascism", "flag, Union Flag", "formal qualities", "fragmentation", "from recognisable sources", "government and politics", "inscriptions", "man-made", "objects", "political protest", "religious and ceremonial", "sequence", "society", "swastika", "symbols and personifications", "universal concepts" ]

null

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artwork

Wood, plywood, iron nails, sand, stone grit, oil paint and resin

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118,528

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1,985

<a href="https://www.tate.org.uk/art/artists/janet-nathan-18440" aria-label="More by Janet Nathan" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Janet Nathan</a>

Near Paros

2,014

[]

Purchased 2013

T13888

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7011781 7008136 7002445 7008591

Janet Nathan

1,985

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Near Paros 1985 is an irregular five-sided wall relief made from a combination of fragments of found elements – including a section of a blue door – and resin. The construction has the appearance of a coastal landscape seen from the air, and the large brownish resin section gives the impression of water. This is reinforced by the title, Paros being one of the Cycladic Greek islands in the Aegean Sea. The resin, each of the found objects, and each of the driftwood fragments – which combine to form the work – brings its own subtleties of texture and colour. In this instance Nathan’s response to the particular landscape of the Mediterranean is reflected through her intuitive use of colour, which plays a central and expressive role in her practice. During the period when Near Paros was made, the idea of portraying the effects of sunlight played an increasing role in her constructions, combined with an ambition to portray a sense of stillness and light. This is reflected by a heightened use of colour and the introduction of turquoise and deep blues that is characteristic of her work in the 1980s.

false

1

https://media.tate.org.u…13/T13888_10.jpg

18440

sculpture wood plywood iron nails sand stone grit oil paint resin

[]

Near Paros

1,985

Tate

1985

CLEARED

8

object: 1680 × 1840 × 120 mm

accessioned work

Tate

Purchased 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nNear Paros 1985 is an irregular five-sided wall relief made from a combination of fragments of found elements – including a section of a blue door – and resin. The construction has the appearance of a coastal landscape seen from the air, and the large brownish resin section gives the impression of water. This is reinforced by the title, Paros being one of the Cycladic Greek islands in the Aegean Sea. The resin, each of the found objects, and each of the driftwood fragments – which combine to form the work – brings its own subtleties of texture and colour. In this instance Nathan’s response to the particular landscape of the Mediterranean is reflected through her intuitive use of colour, which plays a central and expressive role in her practice. During the period when Near Paros was made, the idea of portraying the effects of sunlight played an increasing role in her constructions, combined with an ambition to portray a sense of stillness and light. This is reflected by a heightened use of colour and the introduction of turquoise and deep blues that is characteristic of her work in the 1980s.\nIn its combination of wood and resin, Near Paros reflects a key shift in Nathan’s practice away from a reliance on the found object (in works such as Zeloso 1979, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/nathan-zeloso-t13889\" title=\"View the details of this artwork\">T13889</a>) towards works that are a composite of found, made and painted shapes with which she creates precise, formal constructions. Nathan’s sensibilities are affected by her direct experience of the natural world. As historian Mel Gooding has noted: ‘The capacity to integrate elements of a particular landscape, of a place remembered, and sometimes associated with particular journeys or events, into an over-all design that is evocative without being in any way purely descriptive, is what makes Nathan’s later work continuously surprising and exciting.’ (Gooding 1997, p.10.)\nThroughout her practice, Nathan has made constructions from a diverse range of materials, including found objects and driftwood, and the coastline has been an important source, both of materials and of subject matter. Her work draws in the main from her personal experience of landscape, in particular seascapes or river views, most often of the River Thames in London but also extending to the Nile and the Amazon. As her titles suggest, there is often an implied sense of the pictorial in these apparently abstract painted constructions, a representation of things seen and remembered. However they are never simply descriptive, but rather work through reference and allusion. Near Paros is the summation of Nathan’s experiences of visiting the Greek islands that year. The work was made at her studio in Wapping, East London, overlooking the Thames, which was a further source of inspiration.\n\nFurther reading\n Mary Rose Beaumont, Janet Nathan: Coloured Constructions 1978–1988, exhibition catalogue, Warwick Arts Trust, Warwick 1988. Bryan Robertson, Janet Nathan: Painted Constructions, exhibition catalogue, Reed’s Wharf Gallery, London 1995. Mel Gooding, Janet Nathan: Constructions 1979–1997, exhibition catalogue, Barbican Art Gallery, London 1997.\nAndrew Wilson March 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-06-26T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "abstraction", "architecture", "assemblage / collage", "colour", "countries and continents", "door", "emotions and human qualities", "emotions, concepts and ideas", "features", "formal qualities", "Greece, Cyclades, Paros", "irregular forms", "island", "memory", "non-representational", "places", "sea", "seascapes and coasts", "sunshine", "weather" ]

null

false

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artwork

Wood and board, canvas, fabric, oil paint, resin, sand

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<a href="https://www.tate.org.uk/art/artists/janet-nathan-18440" aria-label="More by Janet Nathan" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Janet Nathan</a>

Zeloso

2,014

[]

Presented by the artist 2013

T13889

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7011781 7008136 7002445 7008591

Janet Nathan

1,979

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Zeloso 1979 is typical of Nathan’s early constructions in mixed media, a number of which explore the format of a cross. It takes its colour predominantly from the muted tones of wood and metal juxtaposed against sections of red painted board. The materials were sourced from skips or found as driftwood on the shoreline and are left in their natural and weathered state. The work’s asymmetrical arrangement of stark fragments emanates what historian Mary Rose Beaumont has described as ‘a fragile air of spirituality’, its cross-shape formation leading her to see it as a kind of altarpiece (Beaumont 1988, p.3). She goes on to note, ‘The cruciform shape has been part of the form consciousness of Western civilisation for at least the last 2,000 years, carrying with it a heavy load of associations. In some of [Nathan’s] constructions the shape of the cross is unmistakable; always there is a poignancy and an inescapably haunting presence’ (Beaumont 1988, p.3).

false

1

https://media.tate.org.u…13/T13889_10.jpg

18440

sculpture wood board canvas fabric oil paint resin sand

[]

Zeloso

1,979

Tate

1979

CLEARED

8

object: 1990 × 1350 × 70 mm

accessioned work

Tate

Presented by the artist 2013

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[ "abstraction", "emotions, concepts and ideas", "formal qualities", "geometric", "non-representational", "objects", "texture", "tools and machinery", "wood" ]

null

false

226 185 8577 86 1297

false

artwork

Acrylic paint on canvas

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118,531

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1,975

<a href="https://www.tate.org.uk/art/artists/giorgio-griffa-17940" aria-label="More by Giorgio Griffa" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Giorgio Griffa</a>

Segni orizzontali

2,014

[]

Purchased with funds provided by the Tate Americas Foundation, courtesy of Shabin and Nadir Mohamed 2013

T13890

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

7005688 7003154 7003120 1000080

Giorgio Griffa

1,975

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Griffa emphasises the physical qualities of his paintings. Rather than the usual practice of stretching the canvas on a wooden frame, he nails it directly to the wall. His paintings are folded during storage so when they are opened out for display a grid of creases is visible. This results in an interplay between the folds and the painted lines. The rows of repetitive brushstrokes record the process of painting. But there are subtle variations in Griffa’s paint application and a harmonious sequence of colours develops from one line to the next.Gallery label, January 2019

false

1

https://media.tate.org.u…13/T13890_10.jpg

17940

painting acrylic paint canvas

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Segni orizzontali

1,975

Tate

1975

CLEARED

6

support: 1930 × 1490 mm

accessioned work

Tate

Purchased with funds provided by the Tate Americas Foundation, courtesy of Shabin and Nadir Mohamed 2013

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

null

false

225 226 185 40568

false

artwork

Oil paint and acrylic paint on canvas

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118,532

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1,966

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Cardinal

2,014

[]

Presented by Flowers Gallery, London in memory of Robert Heller 2013

T13891

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Derek Hirst

1,966

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Cardinal 1966 is a large square painting in oil and acrylic on canvas depicting a bright red dilapidated chair, its springs coiling chaotically across the image. A green cardboard box rests rather incongruously on the seat of the chair, with some of the springs taking on its colour. The painting was made after an extended trip to Spain, when the artist had returned to his native Yorkshire, and was first exhibited at Angela Flowers Gallery, London in 1970 where Hirst showed a series of seven paintings of disintegrating armchairs in various states. This painting, and others in the series including Red Angst 1966 (private collection, Canada), present recognisable chairs that seem to have suffered an explosion and are torn apart. Represented by bold forms of primary colours applied in flat acrylic paint, the chairs in this series have parts missing that appear like empty spaces in a jigsaw, ‘their white gaps and flat strong colours making the studies disturbingly unreal’. (Heller 2007, p.7.) Their titles are similarly allusive, the title of this painting presumably referring to the red colour vestments worn by Cardinals in the Catholic church. The chair paintings were based on photographs the artist took of abandoned armchairs which he discovered in a snowy field near Doncaster in Yorkshire, partially covered – or in some cases obliterated – by the snow. This interest in drawing attention to the importance of what cannot be seen as well as what can is explored further in Hirst’s series of living room interiors including Interior 1966–7 (collection unknown), in which the artist presents a colourful domestic scene taken directly from an aspirational lifestyle magazine. Deliberately omitting some of the domestic objects in this space, such as the lampshade, chair and coffee table, Hirst’s painted re-imaginings combine figuration and abstraction, representation with erasure.

false

1

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1290

painting oil paint acrylic canvas

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Cardinal

1,966

Tate

1966

CLEARED

6

support: 1220 × 1220 mm

accessioned work

Tate

Presented by Flowers Gallery, London in memory of Robert Heller 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nCardinal 1966 is a large square painting in oil and acrylic on canvas depicting a bright red dilapidated chair, its springs coiling chaotically across the image. A green cardboard box rests rather incongruously on the seat of the chair, with some of the springs taking on its colour. The painting was made after an extended trip to Spain, when the artist had returned to his native Yorkshire, and was first exhibited at Angela Flowers Gallery, London in 1970 where Hirst showed a series of seven paintings of disintegrating armchairs in various states. This painting, and others in the series including Red Angst 1966 (private collection, Canada), present recognisable chairs that seem to have suffered an explosion and are torn apart. Represented by bold forms of primary colours applied in flat acrylic paint, the chairs in this series have parts missing that appear like empty spaces in a jigsaw, ‘their white gaps and flat strong colours making the studies disturbingly unreal’. (Heller 2007, p.7.) Their titles are similarly allusive, the title of this painting presumably referring to the red colour vestments worn by Cardinals in the Catholic church. The chair paintings were based on photographs the artist took of abandoned armchairs which he discovered in a snowy field near Doncaster in Yorkshire, partially covered – or in some cases obliterated – by the snow. This interest in drawing attention to the importance of what cannot be seen as well as what can is explored further in Hirst’s series of living room interiors including Interior 1966–7 (collection unknown), in which the artist presents a colourful domestic scene taken directly from an aspirational lifestyle magazine. Deliberately omitting some of the domestic objects in this space, such as the lampshade, chair and coffee table, Hirst’s painted re-imaginings combine figuration and abstraction, representation with erasure.\nHirst’s armchairs also manifest the intense psychological life of a force greater than the sum of their weather-worn, workaday parts, the chair standing in for the absent occupant, its distressed state expressing the fragility of the human condition and the inevitable decay that awaits all things. In this regard Cardinal anticipates the ethereal landscape and sea paintings, such as Church Norton No. II 1985–6 (private collection), that Hirst would make later during his long-term battle with cancer. The critic Peter Fuller wrote that the series to which Cardinal belongs comprises ‘clever, careful documents which seem to take in Auto Destruction, Pop and Conceptualism in one fell swoop,’ while art historian Norbert Lynton viewed these pictures as ‘thick with overtones and undercurrents: suffering, a life spent in battle and nothing left from it but matter for the junk heap and for art’ (quoted in Heller 2007, p.15.)\nOscillating between abstraction and figuration and the artist’s interest in cognition, perceptual processes and emotion, Cardinal also anticipates Hirst’s paintings of doors and arches from the early 1970s that typify the ambiguous nature of his practice. His seductive and highly abstracted archways painted on relief panels, including Samarkand 1971–3 (CAM/JAP/Calouste Gulbenkian Foundation, Lisbon), present passageways as a metaphor for the boundary between the seen and unseen, interior and exterior. Seeing a correlation between these and the armchair paintings, Fuller wrote:\n\n<blockquote>Although the subject of the arm-chair paintings was chaotic destruction, their content was the reverse: the images were built up with an intrinsic emphasis on the formal value of the relationships between the smallest elements in the context of perception. With the arch paintings, this process was turned round: their subject is a cool ‘classical’ formal device, but their content is, in psychological language, affective, and in ‘aesthetic’ terminology expressionistic. (Peter Fuller, untitled essay in Derek Hirst, exhibition catalogue, Angela Flowers Gallery 1975, p.30.) </blockquote>\n\nFurther reading\n \nDerek Hirst, exhibition catalogue, Angela Flowers Gallery, London 1975. \nDerek Hirst: Paintings 1952–1992, exhibition catalogue, Flowers Gallery, London 1993. Robert Heller, Derek Hirst, London 2007. \nDerek Hirst: Interiors of a Kind, Paintings from the 1960s, exhibition catalogue, Flowers Gallery, London 2010.\nHelen Little August 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-09-12T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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null

false

750 39635 2353 1715 17861 189 82 19508 222 30

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artwork

Enamel paint on wood

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118,539

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Two Black Squares

2,014

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Purchased with funds provided by the Nicholas Themans Trust 2013

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Art & Language (Mel Ramsden)

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18368

painting enamel paint wood

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Two Black Squares

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Tate

1965

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6

Support: 317 × 314 × 25 mm Frame: 332 x 328 x 37 mm

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Tate

Purchased with funds provided by the Nicholas Themans Trust 2013

[]

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false

9663 185 30 4357

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artwork

Alogram on plywood on oil paint on canvas

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<a href="https://www.tate.org.uk/art/artists/art-language-2202" aria-label="More by Art & Language (Michael Baldwin, born 1945; Mel Ramsden, born 1944)" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Art & Language (Michael Baldwin, born 1945; Mel Ramsden, born 1944)</a>

Index Incident in a Museum XIX

2,014

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Purchased 2014

T13894

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Art & Language (Michael Baldwin, born 1945; Mel Ramsden, born 1944)

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2202

painting alogram plywood oil paint canvas

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Index: Incident in a Museum XIX

1,987

Tate

1987

CLEARED

6

object: 1740 × 2710 × 75 mm

accessioned work

Tate

Purchased 2014

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null

false

226 8634 1286 185 40568 44 174 8577

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artwork

Graphite and acrylic paint on canvas and alogram on canvas over plywood and mixed media; collaboration with the jackson pollock bar

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<a href="https://www.tate.org.uk/art/artists/art-language-2202" aria-label="More by Art & Language (Michael Baldwin, born 1945; Mel Ramsden, born 1944)" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Art & Language (Michael Baldwin, born 1945; Mel Ramsden, born 1944)</a>

Art Language Paints a Picture A Picture Painted by Actors

2,014

[]

Purchased with funds provided by the Nicholas Themans Trust 2013

T13895

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Art & Language (Michael Baldwin, born 1945; Mel Ramsden, born 1944)

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false

1

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2202

installation graphite acrylic paint canvas alogram plywood mixed media collaboration jackson pollock bar

[]

Art & Language Paints a Picture: A Picture Painted by Actors

1,999

Tate

1999

CLEARED

3

Overall display dimensions variable

accessioned work

Tate

Purchased with funds provided by the Nicholas Themans Trust 2013

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null

false

17936 750 11714 80 82 19508 185 744 169 206 445 46

false

artwork

Oil paint on canvas

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118,544

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<a href="https://www.tate.org.uk/art/artists/john-constable-108" aria-label="More by John Constable" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">John Constable</a>

Salisbury Cathedral Meadows

2,014

[]

Purchased by Tate with assistance from the National Lottery through the Heritage Lottery Fund, The Manton Foundation, Art Fund (with a contribution from the Wolfson Foundation) and Tate Members in partnership with Amgueddfa Cymru-National Museum Wales, Colchester and Ipswich Museums Service, National Galleries of Scotland, and The Salisbury Museum 2013

T13896

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John Constable

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This stormy painting is thought to reflect John Constable’s worries about the effect of political reform on the Anglian Church. The subject was suggested by his close friend, John Fisher, an Archdeacon who lived in Salisbury. The storm may also represent Constable’s grief following the death of his wife, Maria. When he first exhibited this painting in 1831, debates about political reform were intensifying. The rainbow may have been added later, however, suggesting the storm is passing.Gallery label, September 2023

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108

painting oil paint canvas

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Salisbury Cathedral from the Meadows

1,831

Tate

exhibited 1831

CLEARED

6

support: 1537 × 1920 mm frame: 1800 × 2187 × 105 mm

accessioned work

Tate

Purchased by Tate with assistance from the National Lottery through the <a href="/search?gid=999999972" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Heritage Lottery Fund</a>, The Manton Foundation, Art Fund (with a contribution from the Wolfson Foundation) and <a href="/search?gid=999999973" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Tate Members</a> in partnership with Amgueddfa Cymru-National Museum Wales, Colchester and Ipswich Museums Service, National Galleries of Scotland, and The Salisbury Museum 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nSalisbury Cathedral from the Meadows, which Constable began painting in 1830, shows the cathedral from the north-west, looking across the River Nadder from a point near a footbridge known as the Long Bridge. A team of three horses pulls a cart across the river from the left; cattle graze in the meadows in the right distance; and the centre foreground is occupied by a black and white sheepdog whose intent gaze is turned inwards towards the cathedral as if to direct the viewer towards the building or the storm that sweeps over it. The spire pierces a sky full of billowing clouds; a dark rain cloud hangs directly above and a streak of lightning flashes over the roof; but a magnificent rainbow arches over all, promising that the storm will pass. While the tall trees in the middle distance on the left are shaken by a squally breeze, the river’s surface is already glassy and smooth, reflecting the varied sky. Fresh raindrops glint and sparkle on the brambles in the foreground. Throughout much of the canvas, the paint is handled with a febrile, sometimes even frenzied excitement, especially in the foreground undergrowth, the trembling trees and the Gothic architecture of the cathedral. Laid on with brush and palette knife, the paint ranges from thick and three-dimensional in the brambles, to thin and almost translucent in the rainbow. The picture was exhibited by Constable at the Royal Academy in 1831 but never found a buyer. The painting remained in the artist’s studio – where he continued to retouch it – until his death in 1837.\nConstable’s connection with the city of Salisbury first arose, and was then nourished, through two important friendships, with Bishop John Fisher and with his nephew Archdeacon (also John) Fisher, both important patrons. Constable made regular visits to stay with the Fishers in Salisbury from 1811, producing a substantial body of work featuring views in and around the city, and especially in the area around the cathedral where both Fishers had residences. In the 1820s, for example, Constable produced a number of variants of a mid-size painting showing Salisbury Cathedral from the Bishop’s Grounds (Victoria & Albert Museum, London), the original commissioned by the Bishop himself. It was Archdeacon Fisher who, in the late 1820s, had originally encouraged Constable to paint a large version of a Salisbury subject as a distraction from the grief the artist was suffering after the death of his wife Maria in 1828. In a letter to Constable dated 9 August 1829 he advised: ‘I am quite sure that the “church under a cloud” is the best subject you can take’ (see R.B. Beckett (ed.), Collected Correspondence of John Constable, vol.6, Ipswich 1968, pp.250–1). The subject evolved through a number of related drawings and compositional sketches in oils, one of which, Salisbury Cathedral from the Meadows ?1829, is in Tate’s collection (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/constable-salisbury-cathedral-from-the-meadows-n01814\" title=\"View the details of this artwork\">N01814</a>). The rainbow that is such a dominant feature in the final painting is not only absent from the preliminary studies but is also meteorologically impossible given the conditions which the artist presents in the painting.\nThe highly charged and dramatic tone of Salisbury Cathedral from the Meadows has led it to be reassessed in the context of the language and theory of the sublime in British art (see Lyles 2012, accessed 30 March 2013). However, Constable’s inclusion of a rainbow in a picture characterised for its highly turbulent handling of paint may perhaps reflect his spiritual reconciliation following a period of intense personal adversity. While Constable’s art is not generally thought of as symbolic, it is, however, highly autobiographical. The fact that the arc of the rainbow is seen in the painting to end at the exact spot marked by the Archdeacon’s house, Leadenhall, in the Cathedral Close, suggests a reading of Constable’s gratitude for his friend’s emotional support at a time of need.\nBoth Constable and Archdeacon Fisher were ardent supporters of the Anglican Church. Partly for this reason, the storm depicted in Salisbury Cathedral from the Meadows has been interpreted by former Tate curator Leslie Parris as reflecting Constable’s fears for the future of the established church in England, already in his view weakened by the passing of the Catholic Emancipation Act in 1829 and then increasingly threatened by the growing agitation towards a Reform Bill, which was passed in 1832, a year after the painting was finished (see Parris and Fleming-Williams 1991, p.367). However, while this interpretation may have grounding in Constable’s beliefs, the painting defies too literal or simple a reading. Contemporary critics were baffled by Salisbury Cathedral from the Meadows, finding it by turns ‘exaggerated’, ‘theatrical’ and ‘unnatural’. However, those same critics tended to find all of Constable’s late work challenging, owing chiefly to its expressive handling, just as they did the work of his contemporary J.M.W. Turner.\n\nSalisbury Cathedral from the Meadows was described by Parris as representing the climax in any survey of the full cycle of Constable’s large landscapes and, quite simply, as the ‘greatest of his major set-pieces’ (Parris and Fleming-Williams 1991, p.366). Charles Robert Leslie, the artist’s first biographer, recorded that Constable himself believed that it conveyed ‘the full impression of the compass of his art’ and that one day it would probably ‘be considered his greatest’ picture (C.R. Leslie, Memoirs of the Life of John Constable, Esq. R.A., [1843], London 1951, p.237).\n\nFurther reading\n Leslie Parris and Ian Fleming-Williams, Constable, exhibition catalogue, Tate Gallery, London 1991. Anne Lyles (ed.), Constable, The Great Landscapes, exhibition catalogue, Tate Britain, London 2006. Timothy Wilcox, Constable and Salisbury: The Soul of Landscape, exhibition catalogue, Salisbury and South Wiltshire Museum 2011. Anne Lyles, ‘Sublime Nature: John Constable’s Salisbury Cathedral from the Meadows’, in Nigel Llewellyn and Chrstine Riding (eds.), The Art of the Sublime, Tate Research Publication, January 2013, <a href=\"http://www.tate.org.uk/art/research-publications/the-sublime/anne-lyles-sublime-nature-john-constables-salisbury-cathedral-from-the-meadows-r1129550\">http://www.tate.org.uk/art/research-publications/the-sublime/anne-lyles-sublime-nature-john-constables-salisbury-cathedral-from-the-meadows-r1129550</a>, accessed 30 March 2013.\nAnne Lyles and David Blayney Brown March 2012, updated March 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-07-18T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThis stormy painting is thought to reflect John Constable’s worries about the effect of political reform on the Anglian Church. The subject was suggested by his close friend, John Fisher, an Archdeacon who lived in Salisbury. The storm may also represent Constable’s grief following the death of his wife, Maria. When he first exhibited this painting in 1831, debates about political reform were intensifying. The rainbow may have been added later, however, suggesting the storm is passing.\n</div>\n", "display_name": "Online caption", "publication_date": "2023-11-29T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "adults", "animals: mammals", "architecture", "bank", "boat, rowing", "cart", "cathedral", "cloud", "dog - non-specific", "England", "England, Southern", "England, South West", "features", "fence", "figure", "ford", "horse", "landscape", "natural phenomena", "people", "places", "rainbow", "religious", "river", "River Avon", "Salisbury, Salisbury Cathedral", "society", "spire", "storm", "townscape, distant", "townscapes / man-made features", "transport: land", "transport: water", "trunk, blasted", "UK cities, towns and villages", "UK counties", "UK countries and regions", "UK natural features", "water: inland", "weather", "Wiltshire", "wooded" ]

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118,545

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Woman in Grief

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Presented by Hiltrud Egonu 2014

T13897

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T13897Much of Egonu’s work from this period relates to the Biafran War (1967–70). Woman in Grief was painted in the same year as the two Battles of Onitsha in Nigeria. These were large-scale military conflicts between Biafran and Nigerian forces with high casualties on both sides. The events had particular significance for Egonu who was born in Onitsha. He left Nigeria at the age of thirteen to study in the United Kingdom. Deeply concerned for his family but without the means to return, he followed developments in Nigeria closely.Gallery label, April 2019

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painting oil paint canvas

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Woman in Grief

1,968

Tate

1968

CLEARED

6

support: 482 × 1202 mm frame: 607 × 1345 × 35 mm

accessioned work

Tate

Presented by Hiltrud Egonu 2014

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nWoman in Grief 1968 is an oil painting on canvas, painted in London, that dates from the early period of Nigerian-born artist Uzo Egonu’s career. A large leg emerges from a cream form at the centre of the canvas and dominates the painting. Several geometric lines suggest the rear and back of the woman of the title, bent double in distress, the red shape above the knee resembling a head tucked inwards. The figure is abstracted and set against large areas of solid colour, predominantly cobalt blue, cream and red, and other zones of geometric patterning. During the early 1960s Egonu made a number of works, such as Northern Nigerian Landscape 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/egonu-northern-nigerian-landscape-t13898\" title=\"View the details of this artwork\">T13898</a>), which combined a modernist approach to painting with his childhood memories and nostalgia for Nigeria through references to the Nigerian landscape and local traditions. In other works, such as this one, he responded directly to events Nigeria as well as to his own personal circumstances as an expatriate in Britain. \nThis work was painted in the same year as the two Battles of Onitsha, large-scale military conflicts between Biafran and Nigerian forces which resulted in high casualties on both sides. These events had particular significance for Egonu, who was born in Onitsha but left Nigeria in 1945 at the age of thirteen to pursue an education in the United Kingdom. Without the means to return, but deeply concerned for his family, he closely followed developments in Nigeria and much of his work from this period relates to the Biafran War (1967–70).\nHaving settled in Britain, Egonu studied fine art, design and typography at the Camberwell School of Arts in London from 1949–52. Although he lived out his life in England as an expatriate and only returned to Nigeria once for a brief visit, he maintained ties to Africa, utilising Nigerian Igbo imagery as well as responding to events there. He also participated in the First World Festival of Negro Arts in Dakar, Senegal in 1966 and the Second World Festival of Arts and Culture (FESTAC) in Lagos, Nigeria in 1977. In paintings like this one, as well as the earlier Northern Nigerian Landscape, Egonu synthesised his formative years growing up in Nigeria with his academic training in European modernism. He belonged to a generation of non-European artists who chose to live and work in London, but nevertheless struggled to receive institutional recognition for their contribution to the modernist discourse. As such, his work was featured in the landmark exhibition The Other Story, curated by the artist Rasheed Araeen (born 1935) at the Hayward Gallery in London in 1989, alongside other Black and Minority Ethnic artists including Egonu’s long-term friend, Ronald Moody (1900–1984). \n\nFurther reading\n Olu Oguibe, Uzo Egonu, An African Artist in the West, London 1995. Sylvester Okwunodu Ogbechie, ‘Review of Oguibe, Olu, Uzo Egonu, An African Artist in the West,’ H-AfrArts, H-Net Reviews, February 1997, <a href=\"http://www.h-net.org/reviews/showrev.php?id=838\">http://www.h-net.org/reviews/showrev.php?id=838</a>, accessed August 2013.\nKerryn Greenberg August 2013\n</div>\n", "display_name": "Summary", "publication_date": "2020-02-24T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nT13897\nMuch of Egonu’s work from this period relates to the Biafran War (1967–70). Woman in Grief was painted in the same year as the two Battles of Onitsha in Nigeria. These were large-scale military conflicts between Biafran and Nigerian forces with high casualties on both sides. The events had particular significance for Egonu who was born in Onitsha. He left Nigeria at the age of thirteen to study in the United Kingdom. Deeply concerned for his family but without the means to return, he followed developments in Nigeria closely.\n</div>\n", "display_name": "Display caption", "publication_date": "2019-04-25T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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Northern Nigerian Landscape

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T13898

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Uzo Egonu

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During the early 1960s, Egonu made a number of works which drew on his childhood memories. Born in Nigeria in 1931, he moved to Britain at the age of 14. This work demonstrates his nostalgia for Nigeria through references to the Nigerian landscape, architecture and local traditions. It is an abstract rendition of a northern Nigerian village. Perspective is flattened and the rounded huts stacked on top of each other are outlined with black. Winding lines that could represent the limbs of a tree, paths or rivers divide the painting into distinct parts that are then filled in with decorative designs.Gallery label, October 2022

false

1

https://media.tate.org.u…13/T13898_10.jpg

17942

painting oil paint hardboard

[ { "artistRoomsTour": false, "dateText": "25 November 2015 – 10 April 2016", "endDate": "2016-04-10", "exhibitionLegs": [ { "dateText": "25 November 2015 – 10 April 2016", "endDate": "2016-04-10", "id": 8958, "startDate": "2015-11-25", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 7348, "startDate": "2015-11-25", "title": "Artist and Empire", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "11 October 2021 – 3 April 2023", "endDate": "2023-04-03", "exhibitionLegs": [ { "dateText": "11 October 2021 – 3 April 2023", "endDate": "2023-04-03", "id": 14510, "startDate": "2021-10-11", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 11950, "startDate": "2021-10-11", "title": "Sixty Years", "type": "Collection based display" } ]

Northern Nigerian Landscape

1,964

Tate

1964

CLEARED

6

support: 966 × 1528 mm frame: 1029 × 1596 × 53 mm

accessioned work

Tate

Presented by Hiltrud Egonu 2014

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nNorthern Nigerian Landscape 1964 is an oil painting on board, painted in London, that dates from the early period of Nigerian-born artist Uzo Egonu’s career. During the early 1960s Egonu made a number of works, such as this one, which combined a modernist approach to painting with his childhood memories and a nostalgia for Nigeria through references to the Nigerian landscape, vernacular architecture and local traditions. This painting is an abstracted rendition of a northern Nigerian village. The perspective has been flattened and the rounded huts stacked on top of each other are outlined with black. Winding lines that could variously represent the limbs of a tree, paths or rivers divide the painting into distinct parts that are then filled in with decorative designs. Overall the palette is subdued and the shades of brown, olive green, ochre and cobalt blue recall the natural environment. \nEgonu settled in Britain in the 1940s and studied fine art, design and typography at the Camberwell School of Arts in London from 1949–52. Although he lived out his life in England as an expatriate and only returned to Nigeria once for a brief visit, he maintained ties to Africa, combining Igbo imagery with his modernist training, and responding to events in Nigeria, such as the Biafran War (1967–70), in works such as Woman in Grief 1968 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/egonu-woman-in-grief-t13897\" title=\"View the details of this artwork\">T13897</a>). He also participated in the First World Festival of Negro Arts in Dakar, Senegal in 1966 and the Second World Festival of Arts and Culture (FESTAC) in Lagos, Nigeria in 1977. In paintings like Northern Nigerian Landscape Egonu synthesised his formative years growing up in Nigeria with his academic training in European modernism. He belonged to a generation of non-European artists who chose to live and work in London, but nevertheless struggled to receive institutional recognition for their contribution to the modernist discourse. As such, his work was featured in the landmark exhibition The Other Story, curated by the artist Rasheed Araeen (born 1935) at the Hayward Gallery in London in 1989, alongside other Black and Minority Ethnic artists including Egonu’s long-term friend, Ronald Moody (1900–1984). \n\nFurther reading\n Olu Oguibe, Uzo Egonu, An African Artist in the West, London 1995. Sylvester Okwunodu Ogbechie, ‘Review of Oguibe, Olu, Uzo Egonu, An African Artist in the West,’ H-AfrArts, H-Net Reviews, February 1997, <a href=\"http://www.h-net.org/reviews/showrev.php?id=838\">http://www.h-net.org/reviews/showrev.php?id=838</a>, accessed August 2013.\nKerryn Greenberg August 2013\n</div>\n", "display_name": "Summary", "publication_date": "2020-02-24T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nDuring the early 1960s, Egonu made a number of works which drew on his childhood memories. Born in Nigeria in 1931, he moved to Britain at the age of 14. This work demonstrates his nostalgia for Nigeria through references to the Nigerian landscape, architecture and local traditions. It is an abstract rendition of a northern Nigerian village. Perspective is flattened and the rounded huts stacked on top of each other are outlined with black. Winding lines that could represent the limbs of a tree, paths or rivers divide the painting into distinct parts that are then filled in with decorative designs.\n</div>\n", "display_name": "Display caption", "publication_date": "2022-10-28T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "abstraction", "architecture", "countries and continents", "from recognisable sources", "history", "landscape", "Nigeria", "places", "politics and society", "politics: Nigeria", "townscape", "townscapes / man-made features", "tree" ]

null

false

189 223 31988 38 35325 983 1827

false

artwork

Oil paint on hardboard

[ { "append_role_to_name": false, "date": "1924–2002", "fc": "F.N. Souza", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/f-n-souza-1972" } ]

118,552

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

1,965

<a href="https://www.tate.org.uk/art/artists/f-n-souza-1972" aria-label="More by F.N. Souza" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">F.N. Souza</a>

Head a Man

2,014

[]

Presented by Keren Souza Kohn, Francesca Souza and Anya Souza 2014

T13899

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

42740

2110807 7012149 7018161 7018318 7000198 1000004

F.N. Souza

1,965

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Head of a Man is an oil painting on hardboard by the Indian artist F.N. Souza. As its title suggests, the painting depicts a man’s head rendered in thick black impasto on a black background. The style of painting is expressionist, with bold, energetic brush and palette knife strokes forming thick outlines that define the contours of the man’s shoulders and his face, as well as his facial characteristics, such as the large eyes, nose, lips and ears. Regarding his choice of the colour black, Souza stated in 1966: ‘Black is the most mysterious of all colours. Renoir found it impossible and said a spot of black was like a hole in the painting. I cannot agree: colour is now disturbing in a bad way’ (quoted in Grosvenor Gallery 2013, p.46).

false

1

https://media.tate.org.u…13/T13899_10.jpg

1972

painting oil paint hardboard

[ { "artistRoomsTour": false, "dateText": "17 May 2018 – 16 February 2019", "endDate": "2019-02-16", "exhibitionLegs": [ { "dateText": "17 May 2018 – 16 February 2019", "endDate": "2019-02-16", "id": 11941, "startDate": "2018-05-17", "venueName": "Museu de Arte de São Paulo Assis Chateaubriand – MASP (Sao Paulo, Brazil)", "venueWebsiteUrl": null } ], "id": 9822, "startDate": "2018-05-17", "title": "Picture Gallery in Transformation", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "13 March 2021", "endDate": null, "exhibitionLegs": [ { "dateText": "13 March 2021", "endDate": null, "id": 14381, "startDate": "2021-03-13", "venueName": "Tate St Ives (St Ives, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/stives/" } ], "id": 11860, "startDate": "2021-03-13", "title": "Gallery 1: Modern Art and St Ives", "type": "Collection based display" } ]

Head of a Man

1,965

Tate

1965

CLEARED

6

support: 758 × 606 mm frame: 654 × 805 × 53 mm

accessioned work

Tate

Presented by Keren Souza Kohn, Francesca Souza and Anya Souza 2014

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nHead of a Man is an oil painting on hardboard by the Indian artist F.N. Souza. As its title suggests, the painting depicts a man’s head rendered in thick black impasto on a black background. The style of painting is expressionist, with bold, energetic brush and palette knife strokes forming thick outlines that define the contours of the man’s shoulders and his face, as well as his facial characteristics, such as the large eyes, nose, lips and ears. Regarding his choice of the colour black, Souza stated in 1966: ‘Black is the most mysterious of all colours. Renoir found it impossible and said a spot of black was like a hole in the painting. I cannot agree: colour is now disturbing in a bad way’ (quoted in Grosvenor Gallery 2013, p.46).\n\nHead of a Man was made by Souza in London in 1965. It is part of a series of paintings that Souza produced in the 1960s that were all created using black paint on a black background. These works were made in preparation for Souza’s 1966 solo exhibition at the Grosvenor Gallery in London, entitled Black Art and Other Paintings. Although these paintings share an all-black palette, the works are stylistically diverse, ranging from the more cubist Black Valentine 1965 to the impressionistic Vase with Flowers 1965. Their subject matter also covers a wide thematic range, from landscapes, heads and nudes to religious scenes and still lifes. In 2013 Barbara Zinkant, Souza’s wife, explained how the artist experimented with the way light interacted with the black paintings, using ‘various brush and palette knife strokes to see how the light would reflect on the work … He would place lamps around the paintings and would view them from different angles’ (Zinkant in Grosvenor Gallery 2013, p.34).\nThe art critic Zehra Jumabhoy suggests that with these works, which were hard to sell and challenging to reproduce photographically, Souza might have aimed to provoke the ‘increasingly conservative British art establishment in the 1960s, who expected an “Indian artist” to paint with a bright, “exotic” palette’ (Jumabhoy, ‘F.N. Souza: Dark Visions’, in Grosvenor Gallery 2013, pp.8–13, p.8). Souza co-founded the Progressive Artists’ Group in Bombay in 1947 on the eve of independence from British rule and became associated with the advance of Indian modernism. In 1949 he moved from India to London and later, in 1967, to New York. The art historian and curator Geeta Kapur has noted that as an Indian expatriate and diaspora artist, ‘Souza was the first Indian artist to become something of a sensation in the West’ (Kapur quoted in Jumabhoy 2013, p.7).\n\nFurther reading\n \nF.N. Souza: Black Art and Other Paintings, exhibition catalogue, Grosvenor Gallery, London 1966. Aziz Kurtha (ed.), Francis Newton Souza: Bridging Western and Indian Modern Art, Ocean, New Jersey 2006. \nF.N. Souza: Black on Black, exhibition catalogue, Grosvenor Gallery, London 2013, reproduced no.2.\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" } ]

[ "abstraction", "adults", "body", "emotions, concepts and ideas", "formal qualities", "gestural", "head / face", "man", "monochromatic", "non-representational", "people", "texture" ]

null

false

93 19508 615 195 9663 185 8577

false

artwork

Acrylic paint on chipboard

[ { "append_role_to_name": false, "date": "1934–2002", "fc": "Jean-Pierre Yvaral", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/jean-pierre-yvaral-2182" } ]

118,557

[ { "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/jean-pierre-yvaral-2182" aria-label="More by Jean-Pierre Yvaral" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Jean-Pierre Yvaral</a>

Ambiguous Structure No92

2,014

Structure ambigue No.92

[]

Bequeathed by John P. Haggart 2011, accessioned 2014

T13900

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

7008038 7002980 7002883 1000070

Jean-Pierre Yvaral

1,969

[]

Soto left Venezuela for Paris in 1950 where, influenced by Piet Mondrian’s late works, he set out to make paintings that appeared to move. His interest in the transformation of matter into energy led him to create a series of reliefs he called vibrations. In these works, layers of lines, either static or mobile, produce an optical disturbance. In Cardinal a cascade of stems hangs in front of a striped background, gently swinging with the air around it. This movement is enhanced by the optical effects of the rods against the hand-drawn lines.Gallery label, October 2016

false

1

https://media.tate.org.u…13/T13900_10.jpg

2182

painting acrylic paint chipboard

[ { "artistRoomsTour": false, "dateText": "17 May 2016 – 12 June 2022", "endDate": "2022-06-12", "exhibitionLegs": [ { "dateText": "17 May 2016 – 12 June 2022", "endDate": "2022-06-12", "id": 10300, "startDate": "2016-05-17", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 8514, "startDate": "2016-05-17", "title": "Op and Kinetic Art", "type": "Collection based display" } ]

Ambiguous Structure No.92

1,969

Tate

1969

CLEARED

6

frame: 646 × 646 × 30 mm

accessioned work

Tate

Bequeathed by John P. Haggart 2011, accessioned 2014

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nAmbiguous Structure No.92 1969 is an abstract painting in acrylic on a square board. It comprises a series of geometrical shapes in blue, light grey-blue, grey, red and orange tones which are combined to produce a three-dimensional effect. The squares align to form a grid, which seemingly projects and recedes from the flat surface. The cooler tones seem to occupy the foreground, while the warmer ones withdraw to the background. The structure appears to originate in the centre and radiate outwards to the four corners, with the canvas apparently broken up into quadrants. Yvaral began to experiment with colour compositions in 1968, after working exclusively in black and white from 1960 (see Kinetic Relief – Optical Acceleration 1963, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/yvaral-kinetic-relief-optical-acceleration-t00716\" title=\"View the details of this artwork\">T00716</a>). Ambiguous Structure No.92 is one of his first optical paintings in colour. It exemplifies the vigorous colours and illusionary movements that characterise Yvaral’s colour paintings and screenprints.\nJean-Pierre Vasarely, known as Yvaral, was born in Paris in 1934, the second son of the artist Victor Vasarely. After studying advertising and graphic design at the École des Arts Appliqués in Paris, he began to experiment with geometric abstraction in 1954. Yvaral’s optical paintings, kinetic reliefs and screenprints explored the illusion of movement and the swelling, warping patterns on this canvas are typical of his approach. Crucially both Yvaral and Vasarely were interested in developing an abstract language, composed of simplified geometric shapes, with the latter even proposing an ‘alphabet plastique’, which mapped relationships between different shapes and colours. Yvaral’s optical experiments, achieved with mathematical grids, connect with contemporary interests in new technologies as well as developments in optical science. However, the title complicates any sense of positivist knowledge, with the adjective ‘ambiguous’, suggesting something open to interpretation, as well as highlighting the contradiction of employing a logical system to create a trompe l’oeil effect.\nIn 1960 Yvaral co-founded the Groupe de Récherche d’Art Visuel (GRAV) with Julio Le Parc, François Morellet, Francisco Sobrino, Jesus Raphael Soto, Horacio Garcia Rossi and Joel Stein. The group investigated the different ways that works of art could affect the viewer. In GRAV’s communal studio the group produced a series of kinetic sculptures, termed propositions, with moving parts that viewers could activate when they were exhibited in art galleries or on the streets of Paris. These objects made real the illusion of movement, evident in two-dimensional canvases like Ambiguous Structure No.92 and demanded the viewer’s physical interaction, just as his painting provoked movement around the canvas.\nAlthough less well known than his father, Yvaral was an active op artist and participated in a number of group exhibitions, including the seminal op art exhibition The Responsive Eye at the Museum of Modern Art, New York, in 1965.\n\nFurther reading\n ‘The Responsive Eye’, television programme, CBS, 1965, <a href=\"http://www.youtube.com/watch?v=XSVQqJo0Pmk\">http://www.youtube.com/watch?v=XSVQqJo0Pmk</a>, accessed 25 September 2013. Frank Popper, Origins and Development of Kinetic Art, New York 1968. Magdalena Holzhey, Vasarely, London 2005.\nLena Fritsch September 2013\n</div>\n", "display_name": "Summary", "publication_date": "2016-06-07T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nSoto left Venezuela for Paris in 1950 where, influenced by Piet Mondrian’s late works, he set out to make paintings that appeared to move. His interest in the transformation of matter into energy led him to create a series of reliefs he called vibrations. In these works, layers of lines, either static or mobile, produce an optical disturbance. In Cardinal a cascade of stems hangs in front of a striped background, gently swinging with the air around it. This movement is enhanced by the optical effects of the rods against the hand-drawn lines.\n</div>\n", "display_name": "Display caption", "publication_date": "2016-10-12T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[]

null

false

artwork

Oil paint on canvas

[ { "append_role_to_name": false, "date": "born 1960", "fc": "David Austen", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/david-austen-2398" } ]

118,558

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

2,004

<a href="https://www.tate.org.uk/art/artists/david-austen-2398" aria-label="More by David Austen" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">David Austen</a>

Two Trees

2,014

[]

Purchased 2013

T13901

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

7011849 7008131 7002445 7008591

David Austen

2,004

[]

Two Trees 2002 is an oil painting on canvas that depicts two leafless white trees whose branches are closely intertwined. Simple graphic outlines describe the skeletal network of bare branches set against a solid black background that refutes any reference to a naturalistic context. The pared-down scene might suggest a sense of despair, abandonment and pain. Trees feature prominently in Austen’s work and, whilst most of his canvases are rich in references and allusions, the series of works depicting trees that he began in the late 1990s are characterised by their muteness and soberness. Delineated against a solid monochrome background, they may be read as depictions of trees in winter, or images of death or damage. For example, Two Broken Trees 1997 (reproduced in Mead Gallery 1997, p.21) depicts two trees with their branches snapped and twisted by crossfire, an image that was drawn from a photograph of trees on a battlefield taken during the American Civil War. Curators Ruth Charity and Amanda Daly have noted how the damaged trees ‘could refer to a broken relationship, a sudden violence, the weathering of a storm’ (quoted in Mead Gallery 1997, p.7).

false

1

https://media.tate.org.u…T13/T13901_9.jpg

2398

painting oil paint canvas

[]

Two Trees

2,004

Tate

2004

CLEARED

6

support: 1680 × 1520 mm

accessioned work

Tate

Purchased 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nTwo Trees 2002 is an oil painting on canvas that depicts two leafless white trees whose branches are closely intertwined. Simple graphic outlines describe the skeletal network of bare branches set against a solid black background that refutes any reference to a naturalistic context. The pared-down scene might suggest a sense of despair, abandonment and pain. Trees feature prominently in Austen’s work and, whilst most of his canvases are rich in references and allusions, the series of works depicting trees that he began in the late 1990s are characterised by their muteness and soberness. Delineated against a solid monochrome background, they may be read as depictions of trees in winter, or images of death or damage. For example, Two Broken Trees 1997 (reproduced in Mead Gallery 1997, p.21) depicts two trees with their branches snapped and twisted by crossfire, an image that was drawn from a photograph of trees on a battlefield taken during the American Civil War. Curators Ruth Charity and Amanda Daly have noted how the damaged trees ‘could refer to a broken relationship, a sudden violence, the weathering of a storm’ (quoted in Mead Gallery 1997, p.7).\nAusten works across a range of media, from painting and watercolour to drawing, film and photography. Around 1990 he produced many works on canvas depicting a single organic form isolated on a pale, monochrome ground. Sometimes recognisably figurative, sometimes wholly abstract, and sometimes between the two, these images are characterised by a formal simplicity that emphasises the sensuous texture of the oil paint from which they are composed. After this time, Austen began to work on a series of paintings on canvas that followed very simple structures and that offered no explanations and no narrative. Their elusive meanings were complemented by an imagery that mixed figurative and abstract motifs. Paintings such as Blue Shapes 2004 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-blue-shapes-t13912\" title=\"View the details of this artwork\">T13912</a>) illustrate this more abstracted approach.\n\nFurther reading\n \nDavid Austen: Paintings and Works on Paper, exhibition catalogue, Mead Gallery, Warwick Arts Centre, Coventry 1997. \nDavid Austen, exhibition catalogue, Milton Keynes Gallery, Milton Keynes 2007.\nCarmen Juliá August 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-06-19T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[]

null

false

artwork

Gouche on paper

[ { "append_role_to_name": false, "date": "born 1960", "fc": "David Austen", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/david-austen-2398" } ]

118,559

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

1,996

<a href="https://www.tate.org.uk/art/artists/david-austen-2398" aria-label="More by David Austen" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">David Austen</a>

Certain Things 14396

2,014

[]

Purchased with funds provided by The Ampersand Foundation in memory of Michael Stanley 2013

T13902

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

7011849 7008131 7002445 7008591

David Austen

1,996

[]

Untitled (Certain Things) 14.3.96 1996 is a gouache on paper depicting a grid of blue squares, resembling coloured tiles or mosaics, headed by a typewritten text that is taken from the novel The Paperboy (1995) by the American writer Pete Dexter. The text reads: ‘To see certain things, you have to be lying on your back with tears in your eyes and a scalding potato in your mouth. / It’s possible, I think, that you have to be hurt to see anything at all. / There are no intact men.’ The title of Austen’s work quotes from this text as well as giving the date he made the gouache as 14 March 1996. This is one of a series of watercolours and gouaches that Austen made in the mid-1990s in which he began to incorporate text typed on an old manual typewriter, combined with an abstract painted pattern (see also Untitled [Jean Vigo] 14.3.96 1996 [Tate T13903], made on the same day in March 1996).

false

1

https://media.tate.org.u…13/T13902_10.jpg

2398

paper unique gouche

[]

Untitled (Certain Things) 14.3.96

1,996

Tate

1996

CLEARED

5

support: 298 × 222 mm

accessioned work

Tate

Purchased with funds provided by The Ampersand Foundation in memory of Michael Stanley 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nUntitled (Certain Things) 14.3.96 1996 is a gouache on paper depicting a grid of blue squares, resembling coloured tiles or mosaics, headed by a typewritten text that is taken from the novel The Paperboy (1995) by the American writer Pete Dexter. The text reads: ‘To see certain things, you have to be lying on your back with tears in your eyes and a scalding potato in your mouth. / It’s possible, I think, that you have to be hurt to see anything at all. / There are no intact men.’ The title of Austen’s work quotes from this text as well as giving the date he made the gouache as 14 March 1996. This is one of a series of watercolours and gouaches that Austen made in the mid-1990s in which he began to incorporate text typed on an old manual typewriter, combined with an abstract painted pattern (see also Untitled [Jean Vigo] 14.3.96 1996 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-untitled-jean-vigo-14-3-96-t13903\" title=\"View the details of this artwork\">T13903</a>], made on the same day in March 1996). \nIn such works neither the image nor the text illustrates the other; their association is more elusive. The artist often chooses beautifully descriptive passages that have in common the ability to conjure up powerful images and that are drawn from a range of literary sources – from the writing of French polymath Boris Vian to the poems of William Butler Yeats. The images provide a counterpoint to the texts and, whilst they appear to bear no obvious relationship to the content of the written passages, the reading of one is guided by the reading of the other. The gap between the imagery suggested by the text and the actual painted image enhances the lyrical nature of the compositions, which often carry a melancholic quality typical of much of the artist’s work. \nUrban loneliness, disturbing dreams, death and bleak, existential despair are predominating themes in Austen’s work, which he combines with a visual language that carries a strongly hand-crafted and elemental sense concerned with the mechanics and dynamics of expression, representation and the way images are read. Much of the artist’s source material is derived from observations of the everyday world around him: a chance remark, a book cover, crime thrillers or a newspaper headline that, removed from its original context, is invested with new meaning. Austen often changes from one media to another and his approaches to his subject matter vary accordingly. However, these common concerns run through different strands of his practice, establishing a strong relationship between the themes and forms explored in his works on paper and his large-scale oil paintings as well as his photographs and films. \n\nFurther reading\n \nDavid Austen: Paintings and Works on Paper, exhibition catalogue, Mead Gallery, Warwick Art Centre, Coventry, September–October 1997. \nDavid Austen, exhibition catalogue, Milton Keynes Gallery, February–March 2007. \nDavid Austen: End of Love, exhibition catalogue, Modern Art Oxford, December 2010–February 2011.\nCarmen Juliá August 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-08-21T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[]

null

false

artwork

Gouache on paper

[ { "append_role_to_name": false, "date": "born 1960", "fc": "David Austen", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/david-austen-2398" } ]

118,560

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

1,996

<a href="https://www.tate.org.uk/art/artists/david-austen-2398" aria-label="More by David Austen" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">David Austen</a>

Jean Vigo 14396

2,014

[]

Purchased with funds provided by The Ampersand Foundation in memory of Michael Stanley 2013

T13903

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

7011849 7008131 7002445 7008591

David Austen

1,996

[]

Untitled (Jean Vigo) 14.3.96 1996, is a gouache on paper depicting a black hypnotic spiral in the centre of the composition; in the bottom righthand corner the artist has typewritten the words ‘JEAN VIGO’, in allusion to the French film director (1905–1934) whose works Zéro de Conduite 1933 and L’Atalante 1934 are widely regarded as two of cinema’s finest achievements. In the mid-1990s Austen began to incorporate text into his works in a series of watercolours and gouaches that combined abstract pattern and text typed on an old manual typewriter and Untitled (Jean Vigo) 14.3.96 is one such work (see also Untitled [Certain Things] 14.3.96 1996 [Tate T13902], made on the same day in March 1996).

false

1

https://media.tate.org.u…T13/T13903_9.jpg

2398

paper unique gouache

[]

Untitled (Jean Vigo) 14.3.96

1,996

Tate

1996

CLEARED

5

support: 288 × 222 mm

accessioned work

Tate

Purchased with funds provided by The Ampersand Foundation in memory of Michael Stanley 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nUntitled (Jean Vigo) 14.3.96 1996, is a gouache on paper depicting a black hypnotic spiral in the centre of the composition; in the bottom righthand corner the artist has typewritten the words ‘JEAN VIGO’, in allusion to the French film director (1905–1934) whose works Zéro de Conduite 1933 and L’Atalante 1934 are widely regarded as two of cinema’s finest achievements. In the mid-1990s Austen began to incorporate text into his works in a series of watercolours and gouaches that combined abstract pattern and text typed on an old manual typewriter and Untitled (Jean Vigo) 14.3.96 is one such work (see also Untitled [Certain Things] 14.3.96 1996 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-untitled-certain-things-14-3-96-t13902\" title=\"View the details of this artwork\">T13902</a>], made on the same day in March 1996). \nIn such works neither the image nor the text illustrates the other; their association is more elusive. The artist often chooses beautifully descriptive passages that have in common the ability to conjure up powerful images and that are drawn from a range of literary sources – from the writing of French polymath Boris Vian to the poems of William Butler Yeats. The images provide a counterpoint to the texts and, whilst they appear to bear no obvious relationship to the content of the written passages, the reading of one is guided by the reading of the other. The gap between the imagery suggested by the text and the actual painted image enhances the lyrical nature of the compositions, which often carry a melancholic quality typical of much of the artist’s work. \nUrban loneliness, disturbing dreams, death and bleak, existential despair are predominating themes in Austen’s work, which he combines with a visual language that carries a strongly hand-crafted and elemental sense concerned with the mechanics and dynamics of expression, representation and the way images are read. Much of the artist’s source material is derived from observations of the everyday world around him: a chance remark, a book cover, crime thrillers or a newspaper headline that, removed from its original context, is invested with new meaning. Austen often changes from one media to another and his approaches to his subject matter vary accordingly. However, these common concerns run through different strands of his practice, establishing a strong relationship between the themes and forms explored in his works on paper and his large-scale oil paintings as well as his photographs and films. \n\nFurther reading\n \nDavid Austen: Paintings and Works on Paper, exhibition catalogue, Mead Gallery, Warwick Art Centre, Coventry, September–October 1997. \nDavid Austen, exhibition catalogue, Milton Keynes Gallery, February–March 2007. \nDavid Austen: End of Love, exhibition catalogue, Modern Art Oxford, December 2010–February 2011.\nCarmen Juliá August 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-08-21T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[]

null

false

artwork

Gouache on paper

[ { "append_role_to_name": false, "date": "born 1960", "fc": "David Austen", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/david-austen-2398" } ]

118,561

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

2,002

<a href="https://www.tate.org.uk/art/artists/david-austen-2398" aria-label="More by David Austen" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">David Austen</a>

20302

2,014

[]

Purchased with funds provided by The Ampersand Foundation in memory of Michael Stanley 2013

T13904

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

7011849 7008131 7002445 7008591

David Austen

2,002

[]

Since 1990 Austen has produced many works on paper depicting a single organic form isolated on a pale, monochrome ground. Sometimes recognisably figures, sometimes wholly abstract, or between the two, these images are characterised by a formal simplicity emphasising the texture of the gouache or watercolour with which they are painted.Gallery label, September 2016

false

1

https://media.tate.org.u…T13/T13904_9.jpg

2398

paper unique gouache

[ { "artistRoomsTour": false, "dateText": "14 March 2015 – 18 December 2016", "endDate": "2016-12-18", "exhibitionLegs": [ { "dateText": "14 March 2015 – 18 December 2016", "endDate": "2016-12-18", "id": 9660, "startDate": "2015-03-14", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 7938, "startDate": "2015-03-14", "title": "Gallery 55, 56 & 59", "type": "Collection based display" } ]

Untitled 20.3.02

2,002

Tate

2002

CLEARED

5

support: 410 × 298 mm

accessioned work

Tate

Purchased with funds provided by The Ampersand Foundation in memory of Michael Stanley 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThis is one of a group of four gouaches by David Austen in Tate’s collection that date from 2002; each has the date of its making as part of its title – Untitled 20.3.02 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-untitled-20-3-02-t13904\" title=\"View the details of this artwork\">T13904</a>), Untitled 17.7.02 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-untitled-17-7-02-t13906\" title=\"View the details of this artwork\">T13906</a>), Untitled 12.09.02 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-untitled-12-9-02-t13907\" title=\"View the details of this artwork\">T13907</a>) and Untitled 16.10.02 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-untitled-16-10-02-t13905\" title=\"View the details of this artwork\">T13905</a>). They depict a series of ambiguous abstract forms that could be associated with body parts or other organic forms. In Untitled 20.3.02 two black semi-oval shapes, one in the top righthand corner and the other in the bottom lefthand corner, advance towards the centre of the composition like two tongues. In Untitled 16.10.02 a semi-oval blue shape that resembles a tongue hangs down from the top of the sheet, taking up most of the paper’s surface. Untitled 17.7.02 depicts a green rounded form that could be read as a stomach, while the black elongated shapes that form Untitled 12.9.02 recall mutilated limbs. Sitting somewhere between figuration and abstraction, these images are characterised by a formal simplicity that emphasises the texture of the gouache in which they are painted. The technique of isolating a simple motif against a paler ground recalls the abstract forms of Austen’s earlier works on paper – such as Untitled (Jean Vigo) 14.3.96 1996 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-untitled-jean-vigo-14-3-96-t13903\" title=\"View the details of this artwork\">T13903</a>) – while looking forwards to the figurative watercolours he produced a decade later, such as Apollo and Marsyas 26.4.11 2011 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-apollo-and-marsyas-26-4-11-t13910\" title=\"View the details of this artwork\">T13910</a>).\nUrban loneliness, disturbing dreams, death and bleak, existential despair are predominating themes in Austen’s work, which he combines with a visual language that carries a strongly hand-crafted and elemental sense concerned with the mechanics and dynamics of expression, representation and the way images are read. Much of the artist’s source material is derived from observations of the everyday world around him: a chance remark, a book cover, crime thrillers or a newspaper headline that, removed from its original context, is invested with new meaning. Austen often changes from one media to another and his approaches to his subject matter vary accordingly. However, these common concerns run through different strands of his practice, establishing a strong relationship between the themes and forms explored in his works on paper and his large-scale oil paintings as well as his photographs and films. \n\nFurther reading\n \nDavid Austen: Paintings and Works on Paper, exhibition catalogue, Mead Gallery, Warwick Art Centre, Coventry, September–October 1997. \nDavid Austen, exhibition catalogue, Milton Keynes Gallery, February–March 2007. \nDavid Austen: End of Love, exhibition catalogue, Modern Art Oxford, December 2010–February 2011.\nCarmen Juliá August 2013\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\">\nSince 1990 Austen has produced many works on paper depicting a single organic form isolated on a pale, monochrome ground. Sometimes recognisably figures, sometimes wholly abstract, or between the two, these images are characterised by a formal simplicity emphasising the texture of the gouache or watercolour with which they are painted.\n</div>\n", "display_name": "Display caption", "publication_date": "2016-09-06T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[]

null

false

artwork

Gouache on paper

[ { "append_role_to_name": false, "date": "born 1960", "fc": "David Austen", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/david-austen-2398" } ]

118,562

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

2,002

<a href="https://www.tate.org.uk/art/artists/david-austen-2398" aria-label="More by David Austen" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">David Austen</a>

161002

2,014

[]

Purchased with funds provided by The Ampersand Foundation in memory of Michael Stanley 2013

T13905

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

7011849 7008131 7002445 7008591

David Austen

2,002

[]

Since 1990 Austen has produced many works on paper depicting a single organic form isolated on a pale, monochrome ground. Sometimes recognisably figures, sometimes wholly abstract, or between the two, these images are characterised by a formal simplicity emphasising the texture of the gouache or watercolour with which they are painted.Gallery label, September 2016

false

1

https://media.tate.org.u…T13/T13905_9.jpg

2398

paper unique gouache

[ { "artistRoomsTour": false, "dateText": "14 March 2015 – 18 December 2016", "endDate": "2016-12-18", "exhibitionLegs": [ { "dateText": "14 March 2015 – 18 December 2016", "endDate": "2016-12-18", "id": 9660, "startDate": "2015-03-14", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 7938, "startDate": "2015-03-14", "title": "Gallery 55, 56 & 59", "type": "Collection based display" } ]

Untitled 16.10.02

2,002

Tate

2002

CLEARED

5

support: 410 × 298 mm

accessioned work

Tate

Purchased with funds provided by The Ampersand Foundation in memory of Michael Stanley 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThis is one of a group of four gouaches by David Austen in Tate’s collection that date from 2002; each has the date of its making as part of its title – Untitled 20.3.02 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-untitled-20-3-02-t13904\" title=\"View the details of this artwork\">T13904</a>), Untitled 17.7.02 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-untitled-17-7-02-t13906\" title=\"View the details of this artwork\">T13906</a>), Untitled 12.09.02 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-untitled-12-9-02-t13907\" title=\"View the details of this artwork\">T13907</a>) and Untitled 16.10.02 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-untitled-16-10-02-t13905\" title=\"View the details of this artwork\">T13905</a>). They depict a series of ambiguous abstract forms that could be associated with body parts or other organic forms. In Untitled 20.3.02 two black semi-oval shapes, one in the top righthand corner and the other in the bottom lefthand corner, advance towards the centre of the composition like two tongues. In Untitled 16.10.02 a semi-oval blue shape that resembles a tongue hangs down from the top of the sheet, taking up most of the paper’s surface. Untitled 17.7.02 depicts a green rounded form that could be read as a stomach, while the black elongated shapes that form Untitled 12.9.02 recall mutilated limbs. Sitting somewhere between figuration and abstraction, these images are characterised by a formal simplicity that emphasises the texture of the gouache in which they are painted. The technique of isolating a simple motif against a paler ground recalls the abstract forms of Austen’s earlier works on paper – such as Untitled (Jean Vigo) 14.3.96 1996 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-untitled-jean-vigo-14-3-96-t13903\" title=\"View the details of this artwork\">T13903</a>) – while looking forwards to the figurative watercolours he produced a decade later, such as Apollo and Marsyas 26.4.11 2011 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-apollo-and-marsyas-26-4-11-t13910\" title=\"View the details of this artwork\">T13910</a>).\nUrban loneliness, disturbing dreams, death and bleak, existential despair are predominating themes in Austen’s work, which he combines with a visual language that carries a strongly hand-crafted and elemental sense concerned with the mechanics and dynamics of expression, representation and the way images are read. Much of the artist’s source material is derived from observations of the everyday world around him: a chance remark, a book cover, crime thrillers or a newspaper headline that, removed from its original context, is invested with new meaning. Austen often changes from one media to another and his approaches to his subject matter vary accordingly. However, these common concerns run through different strands of his practice, establishing a strong relationship between the themes and forms explored in his works on paper and his large-scale oil paintings as well as his photographs and films. \n\nFurther reading\n \nDavid Austen: Paintings and Works on Paper, exhibition catalogue, Mead Gallery, Warwick Art Centre, Coventry, September–October 1997. \nDavid Austen, exhibition catalogue, Milton Keynes Gallery, February–March 2007. \nDavid Austen: End of Love, exhibition catalogue, Modern Art Oxford, December 2010–February 2011.\nCarmen Juliá August 2013\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\">\nSince 1990 Austen has produced many works on paper depicting a single organic form isolated on a pale, monochrome ground. Sometimes recognisably figures, sometimes wholly abstract, or between the two, these images are characterised by a formal simplicity emphasising the texture of the gouache or watercolour with which they are painted.\n</div>\n", "display_name": "Display caption", "publication_date": "2016-09-06T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[]

null

false

artwork

Gouache on paper

[ { "append_role_to_name": false, "date": "born 1960", "fc": "David Austen", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/david-austen-2398" } ]

118,563

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

2,002

<a href="https://www.tate.org.uk/art/artists/david-austen-2398" aria-label="More by David Austen" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">David Austen</a>

17702

2,014

[]

Purchased with funds provided by The Ampersand Foundation in memory of Michael Stanley 2013

T13906

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

7011849 7008131 7002445 7008591

David Austen

2,002

[]

Since 1990 Austen has produced many works on paper depicting a single organic form isolated on a pale, monochrome ground. Sometimes recognisably figures, sometimes wholly abstract, or between the two, these images are characterised by a formal simplicity emphasising the texture of the gouache or watercolour with which they are painted.Gallery label, September 2016

false

1

https://media.tate.org.u…T13/T13906_9.jpg

2398

paper unique gouache

[ { "artistRoomsTour": false, "dateText": "14 March 2015 – 18 December 2016", "endDate": "2016-12-18", "exhibitionLegs": [ { "dateText": "14 March 2015 – 18 December 2016", "endDate": "2016-12-18", "id": 9660, "startDate": "2015-03-14", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 7938, "startDate": "2015-03-14", "title": "Gallery 55, 56 & 59", "type": "Collection based display" } ]

Untitled 17.7.02

2,002

Tate

2002

CLEARED

5

support: 410 × 298 mm

accessioned work

Tate

Purchased with funds provided by The Ampersand Foundation in memory of Michael Stanley 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThis is one of a group of four gouaches by David Austen in Tate’s collection that date from 2002; each has the date of its making as part of its title – Untitled 20.3.02 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-untitled-20-3-02-t13904\" title=\"View the details of this artwork\">T13904</a>), Untitled 17.7.02 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-untitled-17-7-02-t13906\" title=\"View the details of this artwork\">T13906</a>), Untitled 12.09.02 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-untitled-12-9-02-t13907\" title=\"View the details of this artwork\">T13907</a>) and Untitled 16.10.02 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-untitled-16-10-02-t13905\" title=\"View the details of this artwork\">T13905</a>). They depict a series of ambiguous abstract forms that could be associated with body parts or other organic forms. In Untitled 20.3.02 two black semi-oval shapes, one in the top righthand corner and the other in the bottom lefthand corner, advance towards the centre of the composition like two tongues. In Untitled 16.10.02 a semi-oval blue shape that resembles a tongue hangs down from the top of the sheet, taking up most of the paper’s surface. Untitled 17.7.02 depicts a green rounded form that could be read as a stomach, while the black elongated shapes that form Untitled 12.9.02 recall mutilated limbs. Sitting somewhere between figuration and abstraction, these images are characterised by a formal simplicity that emphasises the texture of the gouache in which they are painted. The technique of isolating a simple motif against a paler ground recalls the abstract forms of Austen’s earlier works on paper – such as Untitled (Jean Vigo) 14.3.96 1996 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-untitled-jean-vigo-14-3-96-t13903\" title=\"View the details of this artwork\">T13903</a>) – while looking forwards to the figurative watercolours he produced a decade later, such as Apollo and Marsyas 26.4.11 2011 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-apollo-and-marsyas-26-4-11-t13910\" title=\"View the details of this artwork\">T13910</a>).\nUrban loneliness, disturbing dreams, death and bleak, existential despair are predominating themes in Austen’s work, which he combines with a visual language that carries a strongly hand-crafted and elemental sense concerned with the mechanics and dynamics of expression, representation and the way images are read. Much of the artist’s source material is derived from observations of the everyday world around him: a chance remark, a book cover, crime thrillers or a newspaper headline that, removed from its original context, is invested with new meaning. Austen often changes from one media to another and his approaches to his subject matter vary accordingly. However, these common concerns run through different strands of his practice, establishing a strong relationship between the themes and forms explored in his works on paper and his large-scale oil paintings as well as his photographs and films. \n\nFurther reading\n \nDavid Austen: Paintings and Works on Paper, exhibition catalogue, Mead Gallery, Warwick Art Centre, Coventry, September–October 1997. \nDavid Austen, exhibition catalogue, Milton Keynes Gallery, February–March 2007. \nDavid Austen: End of Love, exhibition catalogue, Modern Art Oxford, December 2010–February 2011.\nCarmen Juliá August 2013\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\">\nSince 1990 Austen has produced many works on paper depicting a single organic form isolated on a pale, monochrome ground. Sometimes recognisably figures, sometimes wholly abstract, or between the two, these images are characterised by a formal simplicity emphasising the texture of the gouache or watercolour with which they are painted.\n</div>\n", "display_name": "Display caption", "publication_date": "2016-09-06T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[]

null

false

artwork

Gouache on paper

[ { "append_role_to_name": false, "date": "born 1960", "fc": "David Austen", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/david-austen-2398" } ]

118,564

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

2,002

<a href="https://www.tate.org.uk/art/artists/david-austen-2398" aria-label="More by David Austen" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">David Austen</a>

12902

2,014

[]

Purchased with funds provided by The Ampersand Foundation in memory of Michael Stanley 2013

T13907

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

7011849 7008131 7002445 7008591

David Austen

2,002

[]

Since 1990 Austen has produced many works on paper depicting a single organic form isolated on a pale, monochrome ground. Sometimes recognisably figures, sometimes wholly abstract, or between the two, these images are characterised by a formal simplicity emphasising the texture of the gouache or watercolour with which they are painted.Gallery label, September 2016

false

1

https://media.tate.org.u…T13/T13907_9.jpg

2398

paper unique gouache

[ { "artistRoomsTour": false, "dateText": "14 March 2015 – 18 December 2016", "endDate": "2016-12-18", "exhibitionLegs": [ { "dateText": "14 March 2015 – 18 December 2016", "endDate": "2016-12-18", "id": 9660, "startDate": "2015-03-14", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 7938, "startDate": "2015-03-14", "title": "Gallery 55, 56 & 59", "type": "Collection based display" } ]

Untitled 12.9.02

2,002

Tate

2002

CLEARED

5

support: 415 × 298 mm

accessioned work

Tate

Purchased with funds provided by The Ampersand Foundation in memory of Michael Stanley 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThis is one of a group of four gouaches by David Austen in Tate’s collection that date from 2002; each has the date of its making as part of its title – Untitled 20.3.02 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-untitled-20-3-02-t13904\" title=\"View the details of this artwork\">T13904</a>), Untitled 17.7.02 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-untitled-17-7-02-t13906\" title=\"View the details of this artwork\">T13906</a>), Untitled 12.09.02 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-untitled-12-9-02-t13907\" title=\"View the details of this artwork\">T13907</a>) and Untitled 16.10.02 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-untitled-16-10-02-t13905\" title=\"View the details of this artwork\">T13905</a>). They depict a series of ambiguous abstract forms that could be associated with body parts or other organic forms. In Untitled 20.3.02 two black semi-oval shapes, one in the top righthand corner and the other in the bottom lefthand corner, advance towards the centre of the composition like two tongues. In Untitled 16.10.02 a semi-oval blue shape that resembles a tongue hangs down from the top of the sheet, taking up most of the paper’s surface. Untitled 17.7.02 depicts a green rounded form that could be read as a stomach, while the black elongated shapes that form Untitled 12.9.02 recall mutilated limbs. Sitting somewhere between figuration and abstraction, these images are characterised by a formal simplicity that emphasises the texture of the gouache in which they are painted. The technique of isolating a simple motif against a paler ground recalls the abstract forms of Austen’s earlier works on paper – such as Untitled (Jean Vigo) 14.3.96 1996 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-untitled-jean-vigo-14-3-96-t13903\" title=\"View the details of this artwork\">T13903</a>) – while looking forwards to the figurative watercolours he produced a decade later, such as Apollo and Marsyas 26.4.11 2011 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-apollo-and-marsyas-26-4-11-t13910\" title=\"View the details of this artwork\">T13910</a>).\nUrban loneliness, disturbing dreams, death and bleak, existential despair are predominating themes in Austen’s work, which he combines with a visual language that carries a strongly hand-crafted and elemental sense concerned with the mechanics and dynamics of expression, representation and the way images are read. Much of the artist’s source material is derived from observations of the everyday world around him: a chance remark, a book cover, crime thrillers or a newspaper headline that, removed from its original context, is invested with new meaning. Austen often changes from one media to another and his approaches to his subject matter vary accordingly. However, these common concerns run through different strands of his practice, establishing a strong relationship between the themes and forms explored in his works on paper and his large-scale oil paintings as well as his photographs and films. \n\nFurther reading\n \nDavid Austen: Paintings and Works on Paper, exhibition catalogue, Mead Gallery, Warwick Art Centre, Coventry, September–October 1997. \nDavid Austen, exhibition catalogue, Milton Keynes Gallery, February–March 2007. \nDavid Austen: End of Love, exhibition catalogue, Modern Art Oxford, December 2010–February 2011.\nCarmen Juliá August 2013\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\">\nSince 1990 Austen has produced many works on paper depicting a single organic form isolated on a pale, monochrome ground. Sometimes recognisably figures, sometimes wholly abstract, or between the two, these images are characterised by a formal simplicity emphasising the texture of the gouache or watercolour with which they are painted.\n</div>\n", "display_name": "Display caption", "publication_date": "2016-09-06T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[]

null

false

artwork

Watercolour on paper

[ { "append_role_to_name": false, "date": "born 1960", "fc": "David Austen", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/david-austen-2398" } ]

118,565

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

2,011

<a href="https://www.tate.org.uk/art/artists/david-austen-2398" aria-label="More by David Austen" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">David Austen</a>

Expulsion 26411

2,014

[]

Purchased with funds provided by The Ampersand Foundation in memory of Michael Stanley 2013

T13908

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

7011849 7008131 7002445 7008591

David Austen

2,011

[]

This is one of a group of four figurative watercolours by David Austen in Tate’s collection that date from 2011; each has the date of its making as part of its title (see Tate T13908–T13911). The figures are set against the background of the paper and appear to be floating. Drawn from memory, these intimate compositions represent naked human figures that emerge from a single brushstroke, utterly dependent on the assuredness of the artist’s hand and on the impossibility of corrections or second thoughts. Austen’s subject matter is taken from many different sources that mixes religious allegory and mythology with images from the circus.

false

1

https://media.tate.org.u…T13/T13908_9.jpg

2398

paper unique watercolour

[]

Expulsion 26.4.11

2,011

Tate

2011

CLEARED

5

support: 254 × 254 mm

accessioned work

Tate

Purchased with funds provided by The Ampersand Foundation in memory of Michael Stanley 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThis is one of a group of four figurative watercolours by David Austen in Tate’s collection that date from 2011; each has the date of its making as part of its title (see Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-expulsion-26-4-11-t13908\" title=\"View the details of this artwork\">T13908</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-cronus-1-3-11-t13911\" title=\"View the details of this artwork\">T13911</a>). The figures are set against the background of the paper and appear to be floating. Drawn from memory, these intimate compositions represent naked human figures that emerge from a single brushstroke, utterly dependent on the assuredness of the artist’s hand and on the impossibility of corrections or second thoughts. Austen’s subject matter is taken from many different sources that mixes religious allegory and mythology with images from the circus. \n\nExpulsion 26.4.11 2011 (Tate T13908) depicts the Biblical characters of Adam and Eve being expelled from the Garden of Eden. Their striding figures lean forwards in a composition similar to that of The Expulsion from the Garden of Eden circa 1425, a fresco by the early Renaissance painter Masaccio (1401–1428/9?) on the walls of the Brancacci Chapel in the Church of Santa Maria del Carmine in Florence. Austen depicts Eve following Adam, instead of the other way around as in the original iconography, but the very characteristic gesture of both figures covering their faces in shame carries an intense sense of pathos. Apollo and Marsyas 26.4.11 2011 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-apollo-and-marsyas-26-4-11-t13910\" title=\"View the details of this artwork\">T13910</a>) depicts the rage of the Greek god Apollo who pinned the audacious satyr Marsyas to a tree and flayed him alive after the satyr had dared to enter a competition claiming that the sound of the aulos (a double reed-blown flute) was superior to the cithara, Apollo’s preferred instrument. Austen depicts a blonde Apollo digging his knife through Marsyas’ body as he hangs upside down. Another mythological reference lies behind Cronus 1.3.11 2011 (Tate T13911) which depicts the Titan Cronus who, in fear of a prophecy that he would be overthrown by his own son, swallowed each of his children as soon as they were born. Austen depicts two male figures in profile, one sat on the shoulders of another who is standing, as they disturbingly merge into one another. Woman Standing on Man’s Shoulders (Circus Act) 11.5.11 2011 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-woman-standing-on-mans-shoulders-circus-act-11-5-11-t13909\" title=\"View the details of this artwork\">T13909</a>) depicts two naked figures in profile, one male the other female. As the title indicates, the woman is standing on the shoulders of the man, her arms extended and her right knee slightly bent as if she were preparing herself to jump forward. Through this breadth of themes and cultural references, Austen’s watercolours explore the space between people, as well as their relationships to one another and to the world. Love, sex, death, revenge and the ache of human impulse and emotion are some of the drives that surface in such works.\nAusten combines a sense of alienation and bleak, existential despair with a visual language that carries a strongly hand-crafted and elemental sense concerned with the mechanics and dynamics of expression, representation and the way images are read. Much of the artist’s source material is derived from observations of the everyday world around him: a chance remark, a book cover, crime thrillers or a newspaper headline that, removed from its original context, is invested with new meaning. Austen often changes from one media to another and his approaches to his subject matter vary accordingly. However, these common concerns run through different strands of his practice, establishing a strong relationship between the themes and forms explored in his works on paper and his large-scale oil paintings as well as his photographs and films. \n\nFurther reading\n \nDavid Austen: Paintings and Works on Paper, exhibition catalogue, Mead Gallery, Warwick Art Centre, Coventry, September–October 1997. \nDavid Austen, exhibition catalogue, Milton Keynes Gallery, February–March 2007. \nDavid Austen: End of Love, exhibition catalogue, Modern Art Oxford, December 2010–February 2011.\nCarmen Juliá August 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-08-21T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[]

null

false

artwork

Watercolour on paper

[ { "append_role_to_name": false, "date": "born 1960", "fc": "David Austen", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/david-austen-2398" } ]

118,566

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

2,011

<a href="https://www.tate.org.uk/art/artists/david-austen-2398" aria-label="More by David Austen" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">David Austen</a>

Woman Standing on Mans Shoulders Circus Act 11511

2,014

[]

Purchased with funds provided by The Ampersand Foundation in memory of Michael Stanley 2013

T13909

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

7011849 7008131 7002445 7008591

David Austen

2,011

[]

This is one of a group of four figurative watercolours by David Austen in Tate’s collection that date from 2011; each has the date of its making as part of its title (see Tate T13908–T13911). The figures are set against the background of the paper and appear to be floating. Drawn from memory, these intimate compositions represent naked human figures that emerge from a single brushstroke, utterly dependent on the assuredness of the artist’s hand and on the impossibility of corrections or second thoughts. Austen’s subject matter is taken from many different sources that mixes religious allegory and mythology with images from the circus.

false

1

https://media.tate.org.u…T13/T13909_9.jpg

2398

paper unique watercolour

[]

Woman Standing on Man’s Shoulders (Circus Act) 11.5.11

2,011

Tate

2011

CLEARED

5

support: 254 × 254 mm

accessioned work

Tate

Purchased with funds provided by The Ampersand Foundation in memory of Michael Stanley 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThis is one of a group of four figurative watercolours by David Austen in Tate’s collection that date from 2011; each has the date of its making as part of its title (see Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-expulsion-26-4-11-t13908\" title=\"View the details of this artwork\">T13908</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-cronus-1-3-11-t13911\" title=\"View the details of this artwork\">T13911</a>). The figures are set against the background of the paper and appear to be floating. Drawn from memory, these intimate compositions represent naked human figures that emerge from a single brushstroke, utterly dependent on the assuredness of the artist’s hand and on the impossibility of corrections or second thoughts. Austen’s subject matter is taken from many different sources that mixes religious allegory and mythology with images from the circus. \n\nExpulsion 26.4.11 2011 (Tate T13908) depicts the Biblical characters of Adam and Eve being expelled from the Garden of Eden. Their striding figures lean forwards in a composition similar to that of The Expulsion from the Garden of Eden circa 1425, a fresco by the early Renaissance painter Masaccio (1401–1428/9?) on the walls of the Brancacci Chapel in the Church of Santa Maria del Carmine in Florence. Austen depicts Eve following Adam, instead of the other way around as in the original iconography, but the very characteristic gesture of both figures covering their faces in shame carries an intense sense of pathos. Apollo and Marsyas 26.4.11 2011 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-apollo-and-marsyas-26-4-11-t13910\" title=\"View the details of this artwork\">T13910</a>) depicts the rage of the Greek god Apollo who pinned the audacious satyr Marsyas to a tree and flayed him alive after the satyr had dared to enter a competition claiming that the sound of the aulos (a double reed-blown flute) was superior to the cithara, Apollo’s preferred instrument. Austen depicts a blonde Apollo digging his knife through Marsyas’ body as he hangs upside down. Another mythological reference lies behind Cronus 1.3.11 2011 (Tate T13911) which depicts the Titan Cronus who, in fear of a prophecy that he would be overthrown by his own son, swallowed each of his children as soon as they were born. Austen depicts two male figures in profile, one sat on the shoulders of another who is standing, as they disturbingly merge into one another. Woman Standing on Man’s Shoulders (Circus Act) 11.5.11 2011 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-woman-standing-on-mans-shoulders-circus-act-11-5-11-t13909\" title=\"View the details of this artwork\">T13909</a>) depicts two naked figures in profile, one male the other female. As the title indicates, the woman is standing on the shoulders of the man, her arms extended and her right knee slightly bent as if she were preparing herself to jump forward. Through this breadth of themes and cultural references, Austen’s watercolours explore the space between people, as well as their relationships to one another and to the world. Love, sex, death, revenge and the ache of human impulse and emotion are some of the drives that surface in such works.\nAusten combines a sense of alienation and bleak, existential despair with a visual language that carries a strongly hand-crafted and elemental sense concerned with the mechanics and dynamics of expression, representation and the way images are read. Much of the artist’s source material is derived from observations of the everyday world around him: a chance remark, a book cover, crime thrillers or a newspaper headline that, removed from its original context, is invested with new meaning. Austen often changes from one media to another and his approaches to his subject matter vary accordingly. However, these common concerns run through different strands of his practice, establishing a strong relationship between the themes and forms explored in his works on paper and his large-scale oil paintings as well as his photographs and films. \n\nFurther reading\n \nDavid Austen: Paintings and Works on Paper, exhibition catalogue, Mead Gallery, Warwick Art Centre, Coventry, September–October 1997. \nDavid Austen, exhibition catalogue, Milton Keynes Gallery, February–March 2007. \nDavid Austen: End of Love, exhibition catalogue, Modern Art Oxford, December 2010–February 2011.\nCarmen Juliá August 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-08-21T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[]

null

false

artwork

Watercolour on paper

[ { "append_role_to_name": false, "date": "born 1960", "fc": "David Austen", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/david-austen-2398" } ]

118,567

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

2,011

<a href="https://www.tate.org.uk/art/artists/david-austen-2398" aria-label="More by David Austen" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">David Austen</a>

Apollo and Marsyas 26411

2,014

[]

Purchased with funds provided by The Ampersand Foundation in memory of Michael Stanley 2013

T13910

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

7011849 7008131 7002445 7008591

David Austen

2,011

[]

This is one of a group of four figurative watercolours by David Austen in Tate’s collection that date from 2011; each has the date of its making as part of its title (see Tate T13908–T13911). The figures are set against the background of the paper and appear to be floating. Drawn from memory, these intimate compositions represent naked human figures that emerge from a single brushstroke, utterly dependent on the assuredness of the artist’s hand and on the impossibility of corrections or second thoughts. Austen’s subject matter is taken from many different sources that mixes religious allegory and mythology with images from the circus.

false

1

https://media.tate.org.u…T13/T13910_9.jpg

2398

paper unique watercolour

[]

Apollo and Marsyas 26.4.11

2,011

Tate

2011

CLEARED

5

support: 254 × 254 mm

accessioned work

Tate

Purchased with funds provided by The Ampersand Foundation in memory of Michael Stanley 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThis is one of a group of four figurative watercolours by David Austen in Tate’s collection that date from 2011; each has the date of its making as part of its title (see Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-expulsion-26-4-11-t13908\" title=\"View the details of this artwork\">T13908</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-cronus-1-3-11-t13911\" title=\"View the details of this artwork\">T13911</a>). The figures are set against the background of the paper and appear to be floating. Drawn from memory, these intimate compositions represent naked human figures that emerge from a single brushstroke, utterly dependent on the assuredness of the artist’s hand and on the impossibility of corrections or second thoughts. Austen’s subject matter is taken from many different sources that mixes religious allegory and mythology with images from the circus. \n\nExpulsion 26.4.11 2011 (Tate T13908) depicts the Biblical characters of Adam and Eve being expelled from the Garden of Eden. Their striding figures lean forwards in a composition similar to that of The Expulsion from the Garden of Eden circa 1425, a fresco by the early Renaissance painter Masaccio (1401–1428/9?) on the walls of the Brancacci Chapel in the Church of Santa Maria del Carmine in Florence. Austen depicts Eve following Adam, instead of the other way around as in the original iconography, but the very characteristic gesture of both figures covering their faces in shame carries an intense sense of pathos. Apollo and Marsyas 26.4.11 2011 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-apollo-and-marsyas-26-4-11-t13910\" title=\"View the details of this artwork\">T13910</a>) depicts the rage of the Greek god Apollo who pinned the audacious satyr Marsyas to a tree and flayed him alive after the satyr had dared to enter a competition claiming that the sound of the aulos (a double reed-blown flute) was superior to the cithara, Apollo’s preferred instrument. Austen depicts a blonde Apollo digging his knife through Marsyas’ body as he hangs upside down. Another mythological reference lies behind Cronus 1.3.11 2011 (Tate T13911) which depicts the Titan Cronus who, in fear of a prophecy that he would be overthrown by his own son, swallowed each of his children as soon as they were born. Austen depicts two male figures in profile, one sat on the shoulders of another who is standing, as they disturbingly merge into one another. Woman Standing on Man’s Shoulders (Circus Act) 11.5.11 2011 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-woman-standing-on-mans-shoulders-circus-act-11-5-11-t13909\" title=\"View the details of this artwork\">T13909</a>) depicts two naked figures in profile, one male the other female. As the title indicates, the woman is standing on the shoulders of the man, her arms extended and her right knee slightly bent as if she were preparing herself to jump forward. Through this breadth of themes and cultural references, Austen’s watercolours explore the space between people, as well as their relationships to one another and to the world. Love, sex, death, revenge and the ache of human impulse and emotion are some of the drives that surface in such works.\nAusten combines a sense of alienation and bleak, existential despair with a visual language that carries a strongly hand-crafted and elemental sense concerned with the mechanics and dynamics of expression, representation and the way images are read. Much of the artist’s source material is derived from observations of the everyday world around him: a chance remark, a book cover, crime thrillers or a newspaper headline that, removed from its original context, is invested with new meaning. Austen often changes from one media to another and his approaches to his subject matter vary accordingly. However, these common concerns run through different strands of his practice, establishing a strong relationship between the themes and forms explored in his works on paper and his large-scale oil paintings as well as his photographs and films. \n\nFurther reading\n \nDavid Austen: Paintings and Works on Paper, exhibition catalogue, Mead Gallery, Warwick Art Centre, Coventry, September–October 1997. \nDavid Austen, exhibition catalogue, Milton Keynes Gallery, February–March 2007. \nDavid Austen: End of Love, exhibition catalogue, Modern Art Oxford, December 2010–February 2011.\nCarmen Juliá August 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-08-21T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[]

null

false

artwork

Watercolour on paper

[ { "append_role_to_name": false, "date": "born 1960", "fc": "David Austen", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/david-austen-2398" } ]

118,568

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

2,011

<a href="https://www.tate.org.uk/art/artists/david-austen-2398" aria-label="More by David Austen" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">David Austen</a>

Cronus 1311

2,014

[]

Purchased with funds provided by The Ampersand Foundation in memory of Michael Stanley 2013

T13911

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

7011849 7008131 7002445 7008591

David Austen

2,011

[]

This is one of a group of four figurative watercolours by David Austen in Tate’s collection that date from 2011; each has the date of its making as part of its title (see Tate T13908–T13911). The figures are set against the background of the paper and appear to be floating. Drawn from memory, these intimate compositions represent naked human figures that emerge from a single brushstroke, utterly dependent on the assuredness of the artist’s hand and on the impossibility of corrections or second thoughts. Austen’s subject matter is taken from many different sources that mixes religious allegory and mythology with images from the circus.

false

1

https://media.tate.org.u…T13/T13911_9.jpg

2398

paper unique watercolour

[]

Cronus 1.3.11

2,011

Tate

2011

CLEARED

5

support: 254 × 254 mm

accessioned work

Tate

Purchased with funds provided by The Ampersand Foundation in memory of Michael Stanley 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nThis is one of a group of four figurative watercolours by David Austen in Tate’s collection that date from 2011; each has the date of its making as part of its title (see Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-expulsion-26-4-11-t13908\" title=\"View the details of this artwork\">T13908</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-cronus-1-3-11-t13911\" title=\"View the details of this artwork\">T13911</a>). The figures are set against the background of the paper and appear to be floating. Drawn from memory, these intimate compositions represent naked human figures that emerge from a single brushstroke, utterly dependent on the assuredness of the artist’s hand and on the impossibility of corrections or second thoughts. Austen’s subject matter is taken from many different sources that mixes religious allegory and mythology with images from the circus. \n\nExpulsion 26.4.11 2011 (Tate T13908) depicts the Biblical characters of Adam and Eve being expelled from the Garden of Eden. Their striding figures lean forwards in a composition similar to that of The Expulsion from the Garden of Eden circa 1425, a fresco by the early Renaissance painter Masaccio (1401–1428/9?) on the walls of the Brancacci Chapel in the Church of Santa Maria del Carmine in Florence. Austen depicts Eve following Adam, instead of the other way around as in the original iconography, but the very characteristic gesture of both figures covering their faces in shame carries an intense sense of pathos. Apollo and Marsyas 26.4.11 2011 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-apollo-and-marsyas-26-4-11-t13910\" title=\"View the details of this artwork\">T13910</a>) depicts the rage of the Greek god Apollo who pinned the audacious satyr Marsyas to a tree and flayed him alive after the satyr had dared to enter a competition claiming that the sound of the aulos (a double reed-blown flute) was superior to the cithara, Apollo’s preferred instrument. Austen depicts a blonde Apollo digging his knife through Marsyas’ body as he hangs upside down. Another mythological reference lies behind Cronus 1.3.11 2011 (Tate T13911) which depicts the Titan Cronus who, in fear of a prophecy that he would be overthrown by his own son, swallowed each of his children as soon as they were born. Austen depicts two male figures in profile, one sat on the shoulders of another who is standing, as they disturbingly merge into one another. Woman Standing on Man’s Shoulders (Circus Act) 11.5.11 2011 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/austen-woman-standing-on-mans-shoulders-circus-act-11-5-11-t13909\" title=\"View the details of this artwork\">T13909</a>) depicts two naked figures in profile, one male the other female. As the title indicates, the woman is standing on the shoulders of the man, her arms extended and her right knee slightly bent as if she were preparing herself to jump forward. Through this breadth of themes and cultural references, Austen’s watercolours explore the space between people, as well as their relationships to one another and to the world. Love, sex, death, revenge and the ache of human impulse and emotion are some of the drives that surface in such works.\nAusten combines a sense of alienation and bleak, existential despair with a visual language that carries a strongly hand-crafted and elemental sense concerned with the mechanics and dynamics of expression, representation and the way images are read. Much of the artist’s source material is derived from observations of the everyday world around him: a chance remark, a book cover, crime thrillers or a newspaper headline that, removed from its original context, is invested with new meaning. Austen often changes from one media to another and his approaches to his subject matter vary accordingly. However, these common concerns run through different strands of his practice, establishing a strong relationship between the themes and forms explored in his works on paper and his large-scale oil paintings as well as his photographs and films. \n\nFurther reading\n \nDavid Austen: Paintings and Works on Paper, exhibition catalogue, Mead Gallery, Warwick Art Centre, Coventry, September–October 1997. \nDavid Austen, exhibition catalogue, Milton Keynes Gallery, February–March 2007. \nDavid Austen: End of Love, exhibition catalogue, Modern Art Oxford, December 2010–February 2011.\nCarmen Juliá August 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-08-21T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[]

null

false

artwork

Oil paint on canvas

[ { "append_role_to_name": false, "date": "born 1960", "fc": "David Austen", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/david-austen-2398" } ]

118,569

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

2,004

<a href="https://www.tate.org.uk/art/artists/david-austen-2398" aria-label="More by David Austen" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">David Austen</a>

Blue Shapes

2,014

[]

Presented by the artist 2013

T13912

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

7011849 7008131 7002445 7008591

David Austen

2,004

[]

Blue Shapes 2004 is an oil painting on canvas depicting a variety of round and oval shapes outlined in black on a dark blue background. These organic shapes appear to float and fluctuate on the surface of the canvas like bubbles or cells, yet they remain essentially abstract and resist a narrative interpretation. Austen often pursues several strands of work simultaneously, exploring the different facets of his visual interests at the same time, and switching from figuration to abstraction and from watercolour or gouache to painting, photography or film. He immerses himself in each of these practices and adopts different strategies that lead to very different results. His exercises in abstraction often retain the decorative play of colour against colour, but take their inspiration from specific sources. His influences are broad, from kitsch 1950s curtains and Mesopotamian jewellery to geological formations and spiders’ webs. These are used as a starting point rather than a direct reference; abstracted and reworked they metamorphose into new forms.

false

1

https://media.tate.org.u…T13/T13912_9.jpg

2398

painting oil paint canvas

[]

Blue Shapes

2,004

Tate

2004

CLEARED

6

support: 1680 × 1520 mm

accessioned work

Tate

Presented by the artist 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nBlue Shapes 2004 is an oil painting on canvas depicting a variety of round and oval shapes outlined in black on a dark blue background. These organic shapes appear to float and fluctuate on the surface of the canvas like bubbles or cells, yet they remain essentially abstract and resist a narrative interpretation. Austen often pursues several strands of work simultaneously, exploring the different facets of his visual interests at the same time, and switching from figuration to abstraction and from watercolour or gouache to painting, photography or film. He immerses himself in each of these practices and adopts different strategies that lead to very different results. His exercises in abstraction often retain the decorative play of colour against colour, but take their inspiration from specific sources. His influences are broad, from kitsch 1950s curtains and Mesopotamian jewellery to geological formations and spiders’ webs. These are used as a starting point rather than a direct reference; abstracted and reworked they metamorphose into new forms.\nAround 1990 Austen produced many works on canvas depicting a single organic form isolated on a pale, monochrome ground. Sometimes recognisably figurative, sometimes wholly abstract, and sometimes between the two, these images are characterised by a formal simplicity that emphasises the sensuous texture of the oil paint from which they are composed. After this time, Austen began to work on a series of paintings on canvas that followed very simple structures and that offered no explanations and no narrative. Their elusive meanings were complemented by an imagery that mixed figurative and abstract motifs. A number of his paintings, such as Two Trees 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/austen-two-trees-t13901\" title=\"View the details of this artwork\">T13901</a>), depict broken or barren trees against monochrome backgrounds.\n\nFurther reading\n \nDavid Austen: Paintings and Works on Paper, exhibition catalogue, Mead Gallery, Warwick Arts Centre, Coventry 1997. \nDavid Austen, exhibition catalogue, Milton Keynes Gallery, Milton Keynes 2007.\nCarmen Juliá August 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-06-19T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[]

null

false

artwork

Digital print and ink on paper

[ { "append_role_to_name": false, "date": "", "fc": "BANK (Simon Bedwell born 1963, John Russell born 1963, Milly Thompson born 1964)", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/bank-20528" } ]

118,573

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

1,998

<a href="https://www.tate.org.uk/art/artists/bank-20528" aria-label="More by BANK (Simon Bedwell born 1963, John Russell born 1963, Milly Thompson born 1964)" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">BANK (Simon Bedwell born 1963, John Russell born 1963, Milly Thompson born 1964)</a>

FaxBack London Richard Salmon

2,014

[]

Purchased 2014

T13914

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

BANK (Simon Bedwell born 1963, John Russell born 1963, Milly Thompson born 1964)

1,998

[]

BANK’s aggressive, irreverent and satirical activities targeted the mainstream contemporary art scene. These works are from the series ‘BANK Fax-Back Service’ in which the artists critiqued art gallery exhibition press releases by faxing them back to the gallery with scores out of ten: ‘the endless nonsense they contained meant that we could be brutally honest about their conceits, assumptions and errors to the point of outright rudeness, under the none-too convincing cover of offering free advice.’Gallery label, November 2016

false

1

https://media.tate.org.u…13/T13914_10.jpg

20528

paper unique digital print ink

[ { "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" } ]

Fax-Back (London: Richard Salmon)

1,998

Tate

1998

CLEARED

5

support: 295 × 210 mm

accessioned work

Tate

Purchased 2014

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nFax-Back (London: Richard Salmon) 1998 is a sheet of A4 paper with printed text and handwritten additions in pen. The text is a press release for an exhibition held at Richard Salmon, London in the late 1990s. This is one of a number of Fax-Backs which resulted from the ‘BANK Fax-Back Service’ of 1998–9 for which the then three members of the BANK group of artists (Simon Bedwell, John Russell and Milly Thompson) edited and corrected art gallery exhibition press releases and faxed them back to the gallery complete with critical and occasionally encouraging comments, suggestions for improvement and a mark out of ten. The contributions of the three BANK artists can be identified through their different handwriting and different pens. The earliest Fax-Backs, dating from the early summer of 1998, are embellished with a hand drawn ‘stamp’ that by the early autumn was replaced by a rubber stamp impression to the same design in an official-looking red ink. For other examples of the London Fax-Backs see Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bank-fax-back-london-8-dukes-mews-t13915\" title=\"View the details of this artwork\">T13915</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bank-fax-back-london-lux-gallery-t13925\" title=\"View the details of this artwork\">T13925</a>.\nBANK’s description of their project reveals a typically critical and humorous stance:\n\n<blockquote>Press releases are genuinely fascinating documents. They’re usually unsigned, which is perhaps why they’re so often absurdly pompous. But the really interesting thing is, who are they for? Rich collectors, who must be presumed to be stupid and talked to like children? Other gallerists, to show them that they read the backs of theory books too? Artists? Students? Just who is being addressed by these things? The endless nonsense they contained meant that we could be brutally honest about their conceits, assumptions and errors to the point of outright rudeness, under the none-too-convincing cover of offering free advice as to improvements. There was also a hopefully infuriating holier-than-thou tone to the whole project, and a hypocritical undercurrent. (BANK 2000, p.95.)</blockquote>\nBANK corrected press releases from all types of gallery, ranging from national institutions and publicly-run galleries to commercial galleries and artist-run spaces. The scope of the criticism contained within the Fax-Backs ranged from comments on typographic design and corporate identity, to syntax, grammar and language, misuse of philosophical tenets, historical inaccuracy, lack of humour (as much as the misplaced assumption of humour), pretension and boredom, recourse to journalism, and the use of dumbed-down language.\nBANK received relatively few responses from the galleries they purported to be assisting. The London Fax-Backs were exhibited in 1999 in Press Release, BANK’s last exhibition at the Gallerie Poo Poo in Underwood Street in Shoreditch in London, which had been the group’s base since 1996. For Press Release BANK exhibited thirty Fax-Backs mounted in clip frames hanging on the wall and also reproduced in a book, a style of presentation that they described as an ‘orthodox conceptual art-circa-1969 style’ (BANK 2000, p.108). The following year they extended the range of Fax-Backs to New York galleries and these were exhibited in a second Press Release exhibition, this time at the Rupert Goldsworthy Gallery in New York (September– October 1999). The idea to correct gallery press releases in this way originally occurred during the six-week invigilation of BANK’s exhibition Stop short-changing us. Popular culture is for idiots. We believe in ART (Gallerie Poo Poo, June–August 1998).\nBANK was formed in 1991 by Simon Bedwell, John Russell and Demo Demosthenous following the group exhibition BANK that they had organised in a disused bank building in London. The twenty group exhibitions and other manifestations that the group of artists organised between 1991 and 1999, both at Gallerie Poo Poo between 1996 and 1999 and in various spaces in London prior to that, were formulated as installed scenarios or tableaux. These served as a critique of dominant positions of current art practice then typified by the reception of the young British artist and demonstrated the critically aggressive, irreverent and satirical nature of their activity, which was aimed directly at the mainstream contemporary art scene.\nThe Press Release exhibition acted as an effective marker for the end of BANK’s collective activity (John Russell left the group in 2000 while Thompson and Bedwell continued to exhibit as BANK at Chapman Fine Arts, London in 2001, Anthony Wilkinson Gallery, London in 2002 and The Suburban, Chicago in 2003 before dissolving the partnership the same year). The activity embodied in the making of the Fax-Backs exemplifies the particular oppositional stance that BANK took to the prevailing status quo of the art world through the 1990s, a stance the artist and critic David Burrows (a member of BANK between 1993 and 1995) identified as ‘the other history of Modernism, the history of avant-garde negation and provocation of bourgeois art … [a refusal] to make their artwork work for the institution of art’ (David Burrows, ‘Art & Language / BANK’, Art Monthly, no.222, December 1998–January 1999, p.31).\n\nFurther reading\n BANK, BANK, London 2000, reproduced pp.94–8.\nAndrew Wilson August 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-06-19T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nBANK’s aggressive, irreverent and satirical activities targeted the mainstream contemporary art scene. These works are from the series ‘BANK Fax-Back Service’ in which the artists critiqued art gallery exhibition press releases by faxing them back to the gallery with scores out of ten: ‘the endless nonsense they contained meant that we could be brutally honest about their conceits, assumptions and errors to the point of outright rudeness, under the none-too convincing cover of offering free advice.’\n</div>\n", "display_name": "Display caption", "publication_date": "2016-11-15T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[]

null

false

artwork

Digital print, ink and adhesive tape on paper

[ { "append_role_to_name": false, "date": "", "fc": "BANK (Simon Bedwell born 1963, John Russell born 1963, Milly Thompson born 1964)", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/bank-20528" } ]

118,576

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

1,998

<a href="https://www.tate.org.uk/art/artists/bank-20528" aria-label="More by BANK (Simon Bedwell born 1963, John Russell born 1963, Milly Thompson born 1964)" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">BANK (Simon Bedwell born 1963, John Russell born 1963, Milly Thompson born 1964)</a>

FaxBack London Whitechapel Art Gallery

2,014

[]

Purchased 2014

T13917

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

BANK (Simon Bedwell born 1963, John Russell born 1963, Milly Thompson born 1964)

1,998

[]

BANK’s aggressive, irreverent and satirical activities targeted the mainstream contemporary art scene. These works are from the series ‘BANK Fax-Back Service’ in which the artists critiqued art gallery exhibition press releases by faxing them back to the gallery with scores out of ten: ‘the endless nonsense they contained meant that we could be brutally honest about their conceits, assumptions and errors to the point of outright rudeness, under the none-too convincing cover of offering free advice.’Gallery label, November 2016

false

1

https://media.tate.org.u…13/T13917_10.jpg

20528

paper unique digital print ink adhesive tape

[ { "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" } ]

Fax-Back (London: The Whitechapel Art Gallery)

1,998

Tate

1998

CLEARED

5

support: 295 × 210 mm

accessioned work

Tate

Purchased 2014

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nFax-Back (London: The Whitechapel Art Gallery) 1998 consists of two joined sheets of A4 paper with printed text and handwritten additions. The text is a press release for the exhibition Speed: Visions of an Accelerated Age: Flavin, Hamilton, Gursky, Hapaska, R.Graham held at Whitechapel Art Gallery, London in 1998. The two sheets were cut up and joined together with Sellotape so that the original two-page press release could be transmitted by fax over one page. This is one of a number of Fax-Backs which resulted from the ‘BANK Fax-Back Service’ of 1998–9 for which the then three members of the BANK group of artists (Simon Bedwell, John Russell and Milly Thompson) edited and corrected art gallery exhibition press releases and faxed them back to the gallery complete with critical and occasionally encouraging comments, suggestions for improvement and a mark out of ten. The contributions of the three BANK artists can be discerned through their different handwriting and different pens. The earliest Fax-Backs, dating from the early summer of 1998, are embellished with a hand drawn ‘stamp’ that by the early autumn was replaced by a rubber stamp impression to the same design in an official-looking red ink. For other examples of the London Fax-Backs see Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bank-fax-back-london-richard-salmon-t13914\" title=\"View the details of this artwork\">T13914</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bank-fax-back-london-laurent-delaye-t13916\" title=\"View the details of this artwork\">T13916</a> and <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bank-fax-back-london-victoria-miro-gallery-t13918\" title=\"View the details of this artwork\">T13918</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bank-fax-back-london-lux-gallery-t13925\" title=\"View the details of this artwork\">T13925</a>.\nBANK’s description of their project reveals a typically critical and humorous stance:\n\n<blockquote>Press releases are genuinely fascinating documents. They’re usually unsigned, which is perhaps why they’re so often absurdly pompous. But the really interesting thing is, who are they for? Rich collectors, who must be presumed to be stupid and talked to like children? Other gallerists, to show them that they read the backs of theory books too? Artists? Students? Just who is being addressed by these things? The endless nonsense they contained meant that we could be brutally honest about their conceits, assumptions and errors to the point of outright rudeness, under the none-too-convincing cover of offering free advice as to improvements. There was also a hopefully infuriating holier-than-thou tone to the whole project, and a hypocritical undercurrent. (BANK 2000, p.95.)</blockquote>\nBANK corrected press releases from all types of gallery, ranging from national institutions and publicly-run galleries to commercial galleries and artist-run spaces. The scope of the criticism contained within the Fax-Backs ranged from comments on typographic design and corporate identity, to syntax, grammar and language, misuse of philosophical tenets, historical inaccuracy, lack of humour (as much as the misplaced assumption of humour), pretension and boredom, recourse to journalism, and the use of dumbed-down language.\nBANK received relatively few responses from the galleries they purported to be assisting. The London Fax-Backs were exhibited in 1999 in Press Release, BANK’s last exhibition at the Gallerie Poo Poo in Underwood Street in Shoreditch in London, which had been the group’s base since 1996. For Press Release BANK exhibited thirty Fax-Backs mounted in clip frames hanging on the wall and also reproduced in a book, a style of presentation that they described as an ‘orthodox conceptual art-circa-1969 style’ (BANK 2000, p.108). The following year they extended the range of Fax-Backs to New York galleries and these were exhibited in a second Press Release exhibition, this time at the Rupert Goldsworthy Gallery in New York (September– October 1999). The idea to correct gallery press releases in this way originally occurred during the six-week invigilation of BANK’s exhibition Stop short-changing us. Popular culture is for idiots. We believe in ART (Gallerie Poo Poo, June–August 1998).\nBANK was formed in 1991 by Simon Bedwell, John Russell and Demo Demosthenous following the group exhibition BANK that they had organised in a disused bank building in London. The twenty group exhibitions and other manifestations that the group of artists organised between 1991 and 1999, both at Gallerie Poo Poo between 1996 and 1999 and in various spaces in London prior to that, were formulated as installed scenarios or tableaux. These served as a critique of dominant positions of current art practice then typified by the reception of the young British artist and demonstrated the critically aggressive, irreverent and satirical nature of their activity, which was aimed directly at the mainstream contemporary art scene.\nThe Press Release exhibition acted as an effective marker for the end of BANK’s collective activity (John Russell left the group in 2000 while Thompson and Bedwell continued to exhibit as BANK at Chapman Fine Arts, London in 2001, Anthony Wilkinson Gallery, London in 2002 and The Suburban, Chicago in 2003 before dissolving the partnership the same year). The activity embodied in the making of the Fax-Backs exemplifies the particular oppositional stance that BANK took to the prevailing status quo of the art world through the 1990s, a stance the artist and critic David Burrows (a member of BANK between 1993 and 1995) identified as ‘the other history of Modernism, the history of avant-garde negation and provocation of bourgeois art … [a refusal] to make their artwork work for the institution of art’ (David Burrows, ‘Art & Language / BANK’, Art Monthly, no.222, December 1998–January 1999, p.31).\n\nFurther reading\n BANK, BANK, London 2000, reproduced pp.94–8.\nAndrew Wilson August 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-06-19T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nBANK’s aggressive, irreverent and satirical activities targeted the mainstream contemporary art scene. These works are from the series ‘BANK Fax-Back Service’ in which the artists critiqued art gallery exhibition press releases by faxing them back to the gallery with scores out of ten: ‘the endless nonsense they contained meant that we could be brutally honest about their conceits, assumptions and errors to the point of outright rudeness, under the none-too convincing cover of offering free advice.’\n</div>\n", "display_name": "Display caption", "publication_date": "2016-11-15T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[]

null

false

artwork

Digital print and ink on paper

[ { "append_role_to_name": false, "date": "", "fc": "BANK (Simon Bedwell born 1963, John Russell born 1963, Milly Thompson born 1964)", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/bank-20528" } ]

118,577

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

1,998

<a href="https://www.tate.org.uk/art/artists/bank-20528" aria-label="More by BANK (Simon Bedwell born 1963, John Russell born 1963, Milly Thompson born 1964)" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">BANK (Simon Bedwell born 1963, John Russell born 1963, Milly Thompson born 1964)</a>

FaxBack London Victoria Miro Gallery

2,014

[]

Purchased 2014

T13918

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

BANK (Simon Bedwell born 1963, John Russell born 1963, Milly Thompson born 1964)

1,998

[]

BANK’s aggressive, irreverent and satirical activities targeted the mainstream contemporary art scene. These works are from the series ‘BANK Fax-Back Service’ in which the artists critiqued art gallery exhibition press releases by faxing them back to the gallery with scores out of ten: ‘the endless nonsense they contained meant that we could be brutally honest about their conceits, assumptions and errors to the point of outright rudeness, under the none-too convincing cover of offering free advice.’Gallery label, November 2016

false

1

https://media.tate.org.u…13/T13918_10.jpg

20528

paper unique digital print ink

[ { "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" } ]

Fax-Back (London: Victoria Miro Gallery)

1,998

Tate

1998

CLEARED

5

support: 295 × 210 mm

accessioned work

Tate

Purchased 2014

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nFax-Back (London: Victoria Miro Gallery) 1998 is a sheet of A4 paper with printed text and handwritten additions and red rubber stamping.The text is a press release for an exhibition held at Victoria Miro, London in the late 1990s. This is one of a number of Fax-Backs which resulted from the ‘BANK Fax-Back Service’ of 1998–9 for which the then three members of the BANK group of artists (Simon Bedwell, John Russell and Milly Thompson) edited and corrected art gallery exhibition press releases and faxed them back to the gallery complete with critical and occasionally encouraging comments, suggestions for improvement and a mark out of ten. The contributions of the three BANK artists can be identified through their different handwriting and different pens. The earliest Fax-Backs, dating from the early summer of 1998, are embellished with a hand drawn ‘stamp’ that by the early autumn was replaced by a rubber stamp impression to the same design in an official-looking red ink. For other examples of the London Fax-Backs see Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bank-fax-back-london-richard-salmon-t13914\" title=\"View the details of this artwork\">T13914</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bank-fax-back-london-the-whitechapel-art-gallery-t13917\" title=\"View the details of this artwork\">T13917</a> and <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bank-fax-back-london-deutsche-britische-freundschaft-t13919\" title=\"View the details of this artwork\">T13919</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bank-fax-back-london-lux-gallery-t13925\" title=\"View the details of this artwork\">T13925</a>.\nBANK’s description of their project reveals a typically critical and humorous stance:\n\n<blockquote>Press releases are genuinely fascinating documents. They’re usually unsigned, which is perhaps why they’re so often absurdly pompous. But the really interesting thing is, who are they for? Rich collectors, who must be presumed to be stupid and talked to like children? Other gallerists, to show them that they read the backs of theory books too? Artists? Students? Just who is being addressed by these things? The endless nonsense they contained meant that we could be brutally honest about their conceits, assumptions and errors to the point of outright rudeness, under the none-too-convincing cover of offering free advice as to improvements. There was also a hopefully infuriating holier-than-thou tone to the whole project, and a hypocritical undercurrent. (BANK 2000, p.95.)</blockquote>\nBANK corrected press releases from all types of gallery, ranging from national institutions and publicly-run galleries to commercial galleries and artist-run spaces. The scope of the criticism contained within the Fax-Backs ranged from comments on typographic design and corporate identity, to syntax, grammar and language, misuse of philosophical tenets, historical inaccuracy, lack of humour (as much as the misplaced assumption of humour), pretension and boredom, recourse to journalism, and the use of dumbed-down language.\nBANK received relatively few responses from the galleries they purported to be assisting. Victoria Miro was one of the few galleries to respond, and their faxed reply is housed in Tate’s Prints and Drawings Room as documentation to accompany this work. The London Fax-Backs were exhibited in 1999 in Press Release, BANK’s last exhibition at the Gallerie Poo Poo in Underwood Street in Shoreditch in London, which had been the group’s base since 1996. For Press Release BANK exhibited thirty Fax-Backs mounted in clip frames hanging on the wall and also reproduced in a book, a style of presentation that they described as an ‘orthodox conceptual art-circa-1969 style’ (BANK 2000, p.108). The following year they extended the range of Fax-Backs to New York galleries and these were exhibited in a second Press Release exhibition, this time at the Rupert Goldsworthy Gallery in New York (September– October 1999). The idea to correct gallery press releases in this way originally occurred during the six-week invigilation of BANK’s exhibition Stop short-changing us. Popular culture is for idiots. We believe in ART (Gallerie Poo Poo, June–August 1998).\nBANK was formed in 1991 by Simon Bedwell, John Russell and Demo Demosthenous following the group exhibition BANK that they had organised in a disused bank building in London. The twenty group exhibitions and other manifestations that the group of artists organised between 1991 and 1999, both at Gallerie Poo Poo between 1996 and 1999 and in various spaces in London prior to that, were formulated as installed scenarios or tableaux. These served as a critique of dominant positions of current art practice then typified by the reception of the young British artist and demonstrated the critically aggressive, irreverent and satirical nature of their activity, which was aimed directly at the mainstream contemporary art scene.\nThe Press Release exhibition acted as an effective marker for the end of BANK’s collective activity (John Russell left the group in 2000 while Thompson and Bedwell continued to exhibit as BANK at Chapman Fine Arts, London in 2001, Anthony Wilkinson Gallery, London in 2002 and The Suburban, Chicago in 2003 before dissolving the partnership the same year). The activity embodied in the making of the Fax-Backs exemplifies the particular oppositional stance that BANK took to the prevailing status quo of the art world through the 1990s, a stance the artist and critic David Burrows (a member of BANK between 1993 and 1995) identified as ‘the other history of Modernism, the history of avant-garde negation and provocation of bourgeois art … [a refusal] to make their artwork work for the institution of art’ (David Burrows, ‘Art & Language / BANK’, Art Monthly, no.222, December 1998–January 1999, p.31).\n\nFurther reading\n BANK, BANK, London 2000, reproduced pp.94–8.\nAndrew Wilson August 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-06-19T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nBANK’s aggressive, irreverent and satirical activities targeted the mainstream contemporary art scene. These works are from the series ‘BANK Fax-Back Service’ in which the artists critiqued art gallery exhibition press releases by faxing them back to the gallery with scores out of ten: ‘the endless nonsense they contained meant that we could be brutally honest about their conceits, assumptions and errors to the point of outright rudeness, under the none-too convincing cover of offering free advice.’\n</div>\n", "display_name": "Display caption", "publication_date": "2016-11-15T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[]

null

false

artwork

Digital print and ink on paper

[ { "append_role_to_name": false, "date": "", "fc": "BANK (Simon Bedwell born 1963, John Russell born 1963, Milly Thompson born 1964)", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/bank-20528" } ]

118,582

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

1,998

<a href="https://www.tate.org.uk/art/artists/bank-20528" aria-label="More by BANK (Simon Bedwell born 1963, John Russell born 1963, Milly Thompson born 1964)" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">BANK (Simon Bedwell born 1963, John Russell born 1963, Milly Thompson born 1964)</a>

FaxBack London Waddington Galleries

2,014

[]

Purchased 2014

T13923

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

BANK (Simon Bedwell born 1963, John Russell born 1963, Milly Thompson born 1964)

1,998

[]

BANK’s aggressive, irreverent and satirical activities targeted the mainstream contemporary art scene. These works are from the series ‘BANK Fax-Back Service’ in which the artists critiqued art gallery exhibition press releases by faxing them back to the gallery with scores out of ten: ‘the endless nonsense they contained meant that we could be brutally honest about their conceits, assumptions and errors to the point of outright rudeness, under the none-too convincing cover of offering free advice.’Gallery label, November 2016

false

1

https://media.tate.org.u…13/T13923_10.jpg

20528

paper unique digital print ink

[ { "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" } ]

Fax-Back (London: Waddington Galleries)

1,998

Tate

1998

CLEARED

5

support: 296 × 210 mm

accessioned work

Tate

Purchased 2014

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nFax-Back (London: Waddington Galleries) 1998 is a sheet of A4 paper with printed text and handwritten additions and red rubber stamping.The text is a press release for an exhibition held at Waddington Galleries, London in the late 1990s. This is one of a number of Fax-Backs which resulted from the ‘BANK Fax-Back Service’ of 1998–9 for which the then three members of the BANK group of artists (Simon Bedwell, John Russell and Milly Thompson) edited and corrected art gallery exhibition press releases and faxed them back to the gallery complete with critical and occasionally encouraging comments, suggestions for improvement and a mark out of ten. The contributions of the three BANK artists can be identified through their different handwriting and different pens. The earliest Fax-Backs, dating from the early summer of 1998, are embellished with a hand drawn ‘stamp’ that by the early autumn was replaced by a rubber stamp impression to the same design in an official-looking red ink. For other examples of the London Fax-Backs see Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bank-fax-back-london-richard-salmon-t13914\" title=\"View the details of this artwork\">T13914</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bank-fax-back-london-laure-genillard-gallery-t13922\" title=\"View the details of this artwork\">T13922</a> and <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bank-fax-back-london-morrison-judd-t13924\" title=\"View the details of this artwork\">T13924</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bank-fax-back-london-lux-gallery-t13925\" title=\"View the details of this artwork\">T13925</a>.\nBANK’s description of their project reveals a typically critical and humorous stance:\n\n<blockquote>Press releases are genuinely fascinating documents. They’re usually unsigned, which is perhaps why they’re so often absurdly pompous. But the really interesting thing is, who are they for? Rich collectors, who must be presumed to be stupid and talked to like children? Other gallerists, to show them that they read the backs of theory books too? Artists? Students? Just who is being addressed by these things? The endless nonsense they contained meant that we could be brutally honest about their conceits, assumptions and errors to the point of outright rudeness, under the none-too-convincing cover of offering free advice as to improvements. There was also a hopefully infuriating holier-than-thou tone to the whole project, and a hypocritical undercurrent. (BANK 2000, p.95.)</blockquote>\nBANK corrected press releases from all types of gallery, ranging from national institutions and publicly-run galleries to commercial galleries and artist-run spaces. The scope of the criticism contained within the Fax-Backs ranged from comments on typographic design and corporate identity, to syntax, grammar and language, misuse of philosophical tenets, historical inaccuracy, lack of humour (as much as the misplaced assumption of humour), pretension and boredom, recourse to journalism, and the use of dumbed-down language.\nBANK received relatively few responses from the galleries they purported to be assisting. The London Fax-Backs were exhibited in 1999 in Press Release, BANK’s last exhibition at the Gallerie Poo Poo in Underwood Street in Shoreditch in London, which had been the group’s base since 1996. For Press Release BANK exhibited thirty Fax-Backs mounted in clip frames hanging on the wall and also reproduced in a book, a style of presentation that they described as an ‘orthodox conceptual art-circa-1969 style’ (BANK 2000, p.108). The following year they extended the range of Fax-Backs to New York galleries and these were exhibited in a second Press Release exhibition, this time at the Rupert Goldsworthy Gallery in New York (September– October 1999). The idea to correct gallery press releases in this way originally occurred during the six-week invigilation of BANK’s exhibition Stop short-changing us. Popular culture is for idiots. We believe in ART (Gallerie Poo Poo, June–August 1998).\nBANK was formed in 1991 by Simon Bedwell, John Russell and Demo Demosthenous following the group exhibition BANK that they had organised in a disused bank building in London. The twenty group exhibitions and other manifestations that the group of artists organised between 1991 and 1999, both at Gallerie Poo Poo between 1996 and 1999 and in various spaces in London prior to that, were formulated as installed scenarios or tableaux. These served as a critique of dominant positions of current art practice then typified by the reception of the young British artist and demonstrated the critically aggressive, irreverent and satirical nature of their activity, which was aimed directly at the mainstream contemporary art scene.\nThe Press Release exhibition acted as an effective marker for the end of BANK’s collective activity (John Russell left the group in 2000 while Thompson and Bedwell continued to exhibit as BANK at Chapman Fine Arts, London in 2001, Anthony Wilkinson Gallery, London in 2002 and The Suburban, Chicago in 2003 before dissolving the partnership the same year). The activity embodied in the making of the Fax-Backs exemplifies the particular oppositional stance that BANK took to the prevailing status quo of the art world through the 1990s, a stance the artist and critic David Burrows (a member of BANK between 1993 and 1995) identified as ‘the other history of Modernism, the history of avant-garde negation and provocation of bourgeois art … [a refusal] to make their artwork work for the institution of art’ (David Burrows, ‘Art & Language / BANK’, Art Monthly, no.222, December 1998–January 1999, p.31).\n\nFurther reading\n BANK, BANK, London 2000, reproduced pp.94–8.\nAndrew Wilson August 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-06-19T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nBANK’s aggressive, irreverent and satirical activities targeted the mainstream contemporary art scene. These works are from the series ‘BANK Fax-Back Service’ in which the artists critiqued art gallery exhibition press releases by faxing them back to the gallery with scores out of ten: ‘the endless nonsense they contained meant that we could be brutally honest about their conceits, assumptions and errors to the point of outright rudeness, under the none-too convincing cover of offering free advice.’\n</div>\n", "display_name": "Display caption", "publication_date": "2016-11-15T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[]

null

false

artwork

8 photographs, c-print on paper mounted on board, 2 panels

[ { "append_role_to_name": false, "date": "1948–2014", "fc": "Alexis Hunter", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/alexis-hunter-18289" } ]

118,585

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

1,977

<a href="https://www.tate.org.uk/art/artists/alexis-hunter-18289" aria-label="More by Alexis Hunter" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Alexis Hunter</a>

Approach to Fear XIII Pain Destruction Cause

2,014

[]

Purchased 2013

T13926

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

12081

7011781 7001766 7000508 1008380 1000226 1000006

Alexis Hunter

1,977

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In this work Hunter refers to the advertising techniques of the 1970s whereby you would often see a hand presenting a desirable product. There is a visual conflict between the female hand with polished nails and the burning high heeled shoe it is holding in this act of destruction. The shoe can be seen to embody the woman as portrayed in the mass media; a sort of starlet offering herself for public consumption. This artwork clearly relates to Hunter’s feminist position and critique of society’s objectification of the female body.Gallery label, September 2016

false

1

https://media.tate.org.u…13/T13926_10.jpg

18289

paper unique 8 photographs c-print mounted board 2 panels

[ { "artistRoomsTour": false, "dateText": "23 January 2015 – 11 December 2016", "endDate": "2016-12-11", "exhibitionLegs": [ { "dateText": "23 January 2015 – 11 December 2016", "endDate": "2016-12-11", "id": 8691, "startDate": "2015-01-23", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 7131, "startDate": "2015-01-23", "title": "Galleries 45, 46 & 51", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "30 January 2019 – 1 March 2020", "endDate": "2020-03-01", "exhibitionLegs": [ { "dateText": "30 January 2019 – 27 May 2019", "endDate": "2019-05-27", "id": 12507, "startDate": "2019-01-30", "venueName": "Deutsche Bank Kunsthalle (Berlin, Germany)", "venueWebsiteUrl": null } ], "id": 10305, "startDate": "2019-01-30", "title": "Objects of Wonder", "type": "Tate partnerships & programmes" } ]

Approach to Fear XIII: Pain - Destruction of Cause

1,977

Tate

1977

CLEARED

5

displayed: 1018 × 960 × 25 mm

accessioned work

Tate

Purchased 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nApproach to Fear XIII: Pain – Destruction of Cause 1977 is comprised of eight photographs mounted in two columns of four on two vertical panels. Reading from top left to bottom right, the images depict a silver high-heel shoe as is burns. A hand with painted fingernails and a bracelet holds the heel, turning the shoe in order to show the progress and destruction wrought by the flames.\nThis is one of a number of photoworks made by the artist Alexis Hunter in the late 1970s, all of which are titled Approach to Fear but each with a different subtitle. Originally from New Zealand, Hunter moved to London in 1972 to progress her career. She was politically active and deeply involved in the emerging feminist scene. Between 1972 and 1975 she was a member of the Women’s Workshop of the Artists’ Union, and was a member of the Women’s Art Alliance from 1976 to 1977. Her work of this period, which predominantly took the form of photo-narrative sequences, focused on feminist politics, and she used the visual language of advertising and commercial art to address issues around sexual violence and the construction of gender.\nHunter’s experience of working as a freelancer for commercial film companies informed her appropriation of this commercial visual language. In the Approach to Fear series, for instance, Hunter uses the device, common in the mass media, of the disembodied hand – Hunter’s own – to draw in the viewer. However, art critic Lucy Lippard described in 1981 how Hunter’s series turned this cliché on its head:\n\n<blockquote>In the Approach to Fear series, the protagonist’s well-manicured, jewelled hands are in themselves consumer items – part of the fragmentation of the objectified female. They look the way women’s hands are supposed to look, the way they look in advertising, delicately and sensitively touching the objects … But these hands are not doing what they are supposed to be doing. There’s the catch … The aggressiveness lurking in that stylishly acceptable hand gives the image much of its tension. (Lucy Lippard, ‘Hands On’, in Norwich Gallery 2006, unpaginated.)</blockquote>\nLippard went on to discuss how the narratives seem to revel in this destruction, suggesting that ‘Hunter’s photographs … [are] accompanied by an atmosphere of perversity and frustration. The frustration is that of the woman, who has been manipulated and struggles to free herself from societal conditioning; the perversity is that of the artist, who is in control and enjoying her power’ (Lippard 2006, unpaginated). In this work the movement of the shoe in different shots does not show it off as might be expected of a traditional advertisement, but makes visible its destruction and perhaps increases the reach of the flames.\nHistorian John Roberts has described how Hunter’s work at the time was part of what he calls an ‘opening up’ of conceptual art to the seductive pleasures of popular culture, emphasising that this tendency had a radical impact on the ways in which photography was used in conceptual art in Britain. According to Roberts, artists such as Hunter had a critical understanding of the use of photography in popular culture and appropriated its representational conventions for their own interrogation of socio-political issues. In an interview with Roberts, Hunter outlined the value of this kind of conceptual art strategy for women artists in particular:\n\n<blockquote>It was the way conceptual art emphasised and utilised the perception of the viewer that was so useful to feminist artists. It was a way of connecting directly to other women without any of the prejudices they might have about an aesthetic language. And this is why artists chose distanced, popular mediums such as film, photography and performance. Conceptual art enabled us to find a gap in perception in which to situate our work within popular culture. (Alexis Hunter, quoted in John Roberts, ‘Alexis Hunter’, in Norwich Gallery 2006, unpaginated.)</blockquote>\n\nApproach to Fear XIII: Pain – Destruction of Cause has been shown in numerous exhibitions including Hayward Annual II, Hayward Gallery, London 1978; Alexis Hunter: Approaches to Fear, Bristol Arts Laboratory, Bristol 1979; Sydney Biennale II: Vision and Disbelief, Sydney Museum of Photography, Sydney 1982; Alexis Hunter, Fears, Dreams, Desires: A Survey Exhibition 1976–1988, Auckland City Art Gallery, Auckland 1989; and Alexis Hunter: Radical Feminism in the 1970s, Norwich Gallery, Norwich 2006.\n\nFurther reading\n \nAlexis Hunter: Fears/Dreams/Desires, exhibition catalogue, Auckland City Art Gallery, Auckland 1989. \nAlexis Hunter: Radical Feminism in the 1970s, exhibition catalogue, Norwich Gallery, Norwich 2006.\nHelen Delaney May 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-04-11T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nIn this work Hunter refers to the advertising techniques of the 1970s whereby you would often see a hand presenting a desirable product. There is a visual conflict between the female hand with polished nails and the burning high heeled shoe it is holding in this act of destruction. The shoe can be seen to embody the woman as portrayed in the mass media; a sort of starlet offering herself for public consumption. This artwork clearly relates to Hunter’s feminist position and critique of society’s objectification of the female body.\n</div>\n", "display_name": "Display caption", "publication_date": "2016-09-06T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "clothing and personal items", "destruction", "emotions, concepts and ideas", "fire", "formal qualities", "gender", "natural phenomena", "objects", "photographic", "repetition", "shoe", "social comment", "society", "universal concepts" ]

null

false

88 1715 1326 863 70 9328 9024 1029 158 30

false

artwork

Oil paint on canvas

[ { "append_role_to_name": false, "date": "1844–1933", "fc": "Annie Louisa Swynnerton", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/annie-louisa-swynnerton-540" } ]

118,586

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

1,906

<a href="https://www.tate.org.uk/art/artists/annie-louisa-swynnerton-540" aria-label="More by Annie Louisa Swynnerton" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Annie Louisa Swynnerton</a>

Portrait Miss Elizabeth Williamson

2,014

[]

Presented by Chris Thomson, in memory of Susan Thomson 2013

T13927

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

1003619 7002445 7008591 7011396 7008139

Annie Louisa Swynnerton

1,906

[]

Portrait of Miss Elizabeth Williamson 1906 is a small signed portrait in oil on canvas, showing the head and shoulders of a young girl by Annie Louise Swynnerton. She wears a high-necked thick blue sweater painted with thick brushstrokes. Her blonde should-length hair is loose and her cheeks flushed. She turns to the viewer with an open, carefree smile. The blue of the jumper is picked out in the sitter’s pale blue eyes and the yellow of hair in her eyebrows and facial highlights. Despite this naturalism of this painting, the use of reds, yellows and the blues create a bright, decorative effect. The work is a lively study for the life-size equestrian portrait Miss Elizabeth Williamson on a Pony 1907 (Tate N05019), which was exhibited at the Royal Academy of Arts in London in 1934, and was presented to Tate by Mrs F. Howard in 1939, six years after Swynnerton’s death. Prior to entering Tate’s collection, this study was owned by the art historian Susan Thomson, an expert on Swynnerton.

false

1

https://media.tate.org.u…T13/T13927_9.jpg

540

painting oil paint canvas

[ { "artistRoomsTour": false, "dateText": "31 October 2022 – 24 September 2023", "endDate": "2023-09-24", "exhibitionLegs": [ { "dateText": "31 October 2022", "endDate": null, "id": 14594, "startDate": "2022-10-31", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 12019, "startDate": "2022-10-31", "title": "Annie Swynnerton", "type": "Collection based display" } ]

Portrait of Miss Elizabeth Williamson

1,906

Tate

1906

CLEARED

6

support: 360 × 320 mm

accessioned work

Tate

Presented by Chris Thomson, in memory of Susan Thomson 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nPortrait of Miss Elizabeth Williamson 1906 is a small signed portrait in oil on canvas, showing the head and shoulders of a young girl by Annie Louise Swynnerton. She wears a high-necked thick blue sweater painted with thick brushstrokes. Her blonde should-length hair is loose and her cheeks flushed. She turns to the viewer with an open, carefree smile. The blue of the jumper is picked out in the sitter’s pale blue eyes and the yellow of hair in her eyebrows and facial highlights. Despite this naturalism of this painting, the use of reds, yellows and the blues create a bright, decorative effect. The work is a lively study for the life-size equestrian portrait Miss Elizabeth Williamson on a Pony 1907 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/swynnerton-miss-elizabeth-williamson-on-a-pony-n05019\" title=\"View the details of this artwork\">N05019</a>), which was exhibited at the Royal Academy of Arts in London in 1934, and was presented to Tate by Mrs F. Howard in 1939, six years after Swynnerton’s death. Prior to entering Tate’s collection, this study was owned by the art historian Susan Thomson, an expert on Swynnerton.\nThis painting exhibits Swynnerton’s luminous, bravura style characteristic of the avant-garde aestheticism and impressionism with which she was associated. It was most probably made from life. Such sketches were part of Swynnerton’s method for capturing portraits that were highly individualised in their features and lively in their expression. The sitter was the grand-daughter of Mrs Charles Hunter. Mrs Hunter owned the Villa Barbaro in Venice and was a collector and close friend of writers Henry James and Edith Wharton and artists such as Swynnerton and John Singer Sargent. Elizabeth’s mother, Phyliss, was one of the three women in The Misses Hunter painted by Sargent in 1902 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/sargent-the-misses-hunter-n04180\" title=\"View the details of this artwork\">N04180</a>).\nAnnie Louisa Swynnerton (neé Robinson) became the first woman to be elected an associate of the Royal Academy for nearly 150 years (since Angelica Kaufmann in 1768). Swynnerton was an active feminist and suffragette (see Elizabeth Crawford, The Women’s Suffrage Movement: A Reference Guide 1866–1928, Abingdon 2002, pp.951–2). In 1876 she and fellow artist Susan Dacre founded the Manchester Society of Women Painters. She contributed to the British aesthetic and impressionist movements, exhibiting at the avant-garde Grosvenor Gallery in London as well as the Royal Academy. She associated with artists including George Frederic Watts, Edward Burne-Jones and Sargent, who donated Swynnerton’s Oreads exhibited 1907 to Tate in 1922 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/swynnerton-oreads-n03619\" title=\"View the details of this artwork\">N03619</a>). She also had success on the continent and lived in Rome between 1883 and 1910 with her husband, the sculptor Joseph Swynnerton.\n\nFurther reading\n \nPortraits by Mrs Swynnerton, exhibition catalogue, Manchester Art Gallery, Manchester 1924. \nThe Remaining Works of the Late Annie L. Swynnerton, A.R.A. and the Artistic Effects of the Studio ... Also Modern Pictures and Drawings: From Other Sources, auction catalogue, Christie’s, London, 9 February 1934. Deborah Cherry, Painting Women: Victorian Women Artists, Abingdon 1993, pp.50–2, 69, 93, 104.\nCarol Jacobi September 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-03-19T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[]

null

false

Creative Commons CC BY-NC-ND 4.0 DEED

artwork

Chair, balls, cigarettes and bra

[ { "append_role_to_name": false, "date": "born 1962", "fc": "Sarah Lucas", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/sarah-lucas-2643" } ]

118,594

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999973, "shortTitle": "Tate Members" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,999

<a href="https://www.tate.org.uk/art/artists/sarah-lucas-2643" aria-label="More by Sarah Lucas" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Sarah Lucas</a>

Cigarette Tits Idealized Smokers Chest II

2,014

[]

Presented by Tate Members 2014

T13928

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

11857

7011781 7008136 7002445 7008591

Sarah Lucas

1,999

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Lucas regularly uses chairs and cigarettes in her work. Here a chair becomes a stand-in body, displaying two balls covered in cigarettes, held in a black bra. Lucas sees cigarettes as a rebel accessory and a phallic symbol. Smoking, she says, is a chance to ‘pause and contemplate’. Lucas’s work frequently engages with representations of femininity. She uses humour to challenge gender stereotypes. Macho tabloid culture features in her imagery and titles. She uses that culture’s own language to question its objectification of the female body.Gallery label, October 2020

false

1

https://media.tate.org.u…13/T13928_10.jpg

2643

sculpture chair balls cigarettes bra

[ { "artistRoomsTour": false, "dateText": "7 February 2017 – 29 August 2017", "endDate": "2017-08-29", "exhibitionLegs": [ { "dateText": "7 February 2017 – 19 August 2017", "endDate": "2017-08-19", "id": 10580, "startDate": "2017-02-07", "venueName": "The Israel Museum (Jerusalem, Israel)", "venueWebsiteUrl": "http://www.imj.org.il" } ], "id": 8736, "startDate": "2017-02-07", "title": "No Place Like Home", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "30 January 2019 – 1 March 2020", "endDate": "2020-03-01", "exhibitionLegs": [ { "dateText": "30 January 2019 – 27 May 2019", "endDate": "2019-05-27", "id": 12507, "startDate": "2019-01-30", "venueName": "Deutsche Bank Kunsthalle (Berlin, Germany)", "venueWebsiteUrl": null }, { "dateText": "12 October 2019 – 1 March 2020", "endDate": "2020-03-01", "id": 12508, "startDate": "2019-10-12", "venueName": "ARoS Aarhus Kunstmuseum (Aarhus, Denmark)", "venueWebsiteUrl": null } ], "id": 10305, "startDate": "2019-01-30", "title": "Objects of Wonder", "type": "Tate partnerships & programmes" }, { "artistRoomsTour": false, "dateText": "22 April 2019 – 5 September 2021", "endDate": "2021-09-05", "exhibitionLegs": [ { "dateText": "22 April 2019 – 5 September 2021", "endDate": "2021-09-05", "id": 13018, "startDate": "2019-04-22", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 10720, "startDate": "2019-04-22", "title": "Sixty Years Refresh", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "14 October 2022 – 19 February 2023", "endDate": "2023-02-19", "exhibitionLegs": [ { "dateText": "14 October 2022 – 19 February 2023", "endDate": "2023-02-19", "id": 14879, "startDate": "2022-10-14", "venueName": "Design Museum (London, UK)", "venueWebsiteUrl": "http://www.designmuseum.org" } ], "id": 12234, "startDate": "2022-10-14", "title": "Object of Desire: Surrealism and Design 1924 to Today", "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" } ]

Cigarette Tits [Idealized Smokers Chest II]

1,999

Tate

1999

CLEARED

8

object: 800 × 480 × 520 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> 2014

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nIn Cigarette Tits (Idealized Smokers Chest II) 1999 an everyday wood and metal chair has had a black bra attached to its back, facing forwards, each cup containing a sphere whose surface is entirely covered with cigarettes. Both cigarettes and chairs have featured in Lucas’s work over a long period. She has used chairs in her work since 1992, originally partly because they were cheap and easily available but also because of their metaphorical relationship to the human body (see, for example, Pauline Bunny 1997 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lucas-pauline-bunny-t07437\" title=\"View the details of this artwork\">T07437</a>]). Cigarettes have also figured significantly in her practice. In her early work, they were mainly featured in photographic self-portraits (for example, Fighting Fire with Fire 1996 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lucas-fighting-fire-with-fire-p78449\" title=\"View the details of this artwork\">P78449</a>]), as a rebel accessory, a phallic stand-in and a means for independence, and in the artist’s words for ‘possessing time in a palpable way, stopping to pause and contemplate … It’s really important to have areas of your life – whether it’s walking into a pub or smoking – where you suddenly feel you’ve found your own time zone.’ (Sarah Lucas, quoted in Sarah Kent, ‘Young at Art’, Time Out, October 7–14 1998, p.42.) Later, Lucas started to use them as a material, completely covering surfaces with cigarettes and using them to create swirling patterns as seen in Cigarette Tits. She has explained: \n\n<blockquote>I first started trying to make something out of cigarettes because I like to use relevant kind of materials. I’ve got these cigarettes around so why not use them. There is this obsessive activity of me sticking all these cigarettes on the sculptures, and obsessive activity could be viewed as a form of masturbation. It is a form of sex, it does come from the same sort of drive, and there’s so much satisfaction in it. When you make something completely covered in cigarettes and see it as solid it looks incredibly busy and it’s a bit like sperm or genes under the microscope. (Sarah Lucas, quoted in ‘Sarah Lucas: Tabloid Feminism’, , accessed 14 September 2011.)</blockquote>\nIn her work Lucas frequently challenges gender stereotypes through a play on conventions of representation and framing, specifically through the language and media of popular culture (as in Pauline Bunny and the three related Black and White Bunny photographs [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lucas-black-and-white-bunny-1-p78227\" title=\"View the details of this artwork\">P78227</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lucas-black-and-white-bunny-3-p78229\" title=\"View the details of this artwork\">P78229</a>]). If femininity has been objectified in those realms, in works such as Cigarette Tits (Idealized Smokers Chest II) it is that process of objectification itself which is revealed to be both comic and ridiculous, a self-defeating reduction which turns its object into something ultimately undesirable. Appropriating the macho vernacular of tabloid culture – both in her titles and her imagery – has provided Lucas with the means to critique the tradition of the male gaze using its own language. \n\nFurther reading\n \nSarah Lucas: Exhibitions and Catalogue Raisonné 1989–2005, London 2005.\nHelen Delaney September 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-08-01T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nLucas regularly uses chairs and cigarettes in her work. Here a chair becomes a stand-in body, displaying two balls covered in cigarettes, held in a black bra. Lucas sees cigarettes as a rebel accessory and a phallic symbol. Smoking, she says, is a chance to ‘pause and contemplate’. Lucas’s work frequently engages with representations of femininity. She uses humour to challenge gender stereotypes. Macho tabloid culture features in her imagery and titles. She uses that culture’s own language to question its objectification of the female body.\n</div>\n", "display_name": "Display caption", "publication_date": "2020-10-14T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "abstraction", "assemblage / collage", "bra", "chair", "cigarette", "clothing and personal items", "emotions, concepts and ideas", "figure", "formal qualities", "found object / readymade", "from recognisable sources", "furnishings", "humour", "leisure and pastimes", "objects", "recreational activities", "smoking", "underwear", "universal concepts" ]

null

false

40617 35326 750 922 88 221 30029 189 82 5443 52 2800 3122 30

false

artwork

Oil paint on canvas, wood, gesso and glass

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118,596

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

1,995

<a href="https://www.tate.org.uk/art/artists/keith-coventry-6245" aria-label="More by Keith Coventry" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Keith Coventry</a>

White Abstract Investiture Cecil Beaton

2,014

[]

Purchased 2013

T13930

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

7010428 7008154 7002445 7008591

Keith Coventry

1,995

[]

false

1

https://media.tate.org.u…13/T13930_10.jpg

6245

painting oil paint canvas wood gesso glass

[]

White Abstract (Investiture of Cecil Beaton)

1,995

Tate

1995

CLEARED

6

unconfirmed: 1460 × 1160 mm

accessioned work

Tate

Purchased 2013

[]

null

false

artwork

Oil paint on canvas, wood, gesso and glass

[ { "append_role_to_name": false, "date": "born 1958", "fc": "Keith Coventry", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/keith-coventry-6245" } ]

118,604

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999973, "shortTitle": "Tate Members" }, { "id": 999999956, "shortTitle": "Collection" } ]

1,999

<a href="https://www.tate.org.uk/art/artists/keith-coventry-6245" aria-label="More by Keith Coventry" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Keith Coventry</a>

Black Crack Pipes

2,014

[]

Presented by Tate Members 2013

T13931

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

7010428 7008154 7002445 7008591

Keith Coventry

1,999

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false

1

https://media.tate.org.u…13/T13931_10.jpg

6245

painting oil paint canvas wood gesso glass

[]

Black Crack Pipes

1,999

Tate

1999

CLEARED

6

support: 360 × 440 × 43 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

[]

[ "abstraction", "clothing and personal items", "contemporary society", "drug use", "emotions, concepts and ideas", "fine art and design, named works", "formal qualities", "health and welfare", "monochromatic", "Morandi, Giorgio, paintings", "non-representational", "objects", "pipe", "silhouette", "social comment", "society" ]

null

false

88 2476 17645 10639 156 9663 185 1091 11845 158

false

artwork

Oil paint on canvas, wood, gesso and glass

[ { "append_role_to_name": false, "date": "born 1958", "fc": "Keith Coventry", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/keith-coventry-6245" } ]

118,605

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999973, "shortTitle": "Tate Members" }, { "id": 999999956, "shortTitle": "Collection" } ]

2,004

<a href="https://www.tate.org.uk/art/artists/keith-coventry-6245" aria-label="More by Keith Coventry" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Keith Coventry</a>

Nude in Studio

2,014

[]

Presented by Tate Members 2013

T13932

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

7010428 7008154 7002445 7008591

Keith Coventry

2,004

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false

1

https://media.tate.org.u…13/T13932_10.jpg

6245

painting oil paint canvas wood gesso glass

[]

Nude in the Studio

2,004

Tate

2004

CLEARED

6

support: 1460 × 1160 × 71 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

[]

[ "abstraction", "actions: postures and motions", "adults", "arts and entertainment", "disillusionment", "Dufy, Raoul, painting", "emotions and human qualities", "emotions, concepts and ideas", "female", "fine art and design, named works", "fine arts and music", "from recognisable sources", "interiors", "irony", "man-made", "model", "monochromatic", "non-representational", "nudes", "objects", "people", "pessimism", "picture", "standing", "studio", "universal concepts", "woman", "work and occupations", "workspaces" ]

null

false

92 118 17360 35327 31 519 10639 80 189 1704 222 661 9663 185 98 759 744 270 206 30 167 46

false

artwork

Oil paint on canvas, wood, gesso and glass

[ { "append_role_to_name": false, "date": "born 1958", "fc": "Keith Coventry", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/keith-coventry-6245" } ]

118,606

[ { "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/keith-coventry-6245" aria-label="More by Keith Coventry" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Keith Coventry</a>

Beach at Nice V

2,014

[]

Purchased 2013

T13933

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

7010428 7008154 7002445 7008591

Keith Coventry

2,005

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false

1

https://media.tate.org.u…13/T13933_10.jpg

6245

painting oil paint canvas wood gesso glass

[]

Beach at Nice V

2,005

Tate

2005

CLEARED

6

support: 725 × 880 × 45 mm

accessioned work

Tate

Purchased 2013

[]

[ "abstraction", "adults", "architecture", "beach", "cities, towns, villages (non-UK)", "countries and continents", "disillusionment", "Dufy, Raoul, painting", "emotions and human qualities", "emotions, concepts and ideas", "figure", "fine art and design, named works", "France", "hill", "irony", "landscape", "monochromatic", "Nice, Promenade des Anglais", "non-representational", "objects", "palm", "people", "pessimism", "places", "seascapes and coasts", "townscape, distant", "townscapes / man-made features", "universal concepts" ]

null

false

1519 17360 35327 31 451 10639 1495 636 1704 9663 34784 185 1831 759 73 989 30

false

artwork

Fabric, cotton thread and metal coins

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118,607

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2,013

<a href="https://www.tate.org.uk/art/artists/meschac-gaba-8313" aria-label="More by Meschac Gaba" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Meschac Gaba</a>

Museum Contemporary African Art in London

2,014

[]

Purchased with funds provided by the Acquisitions Fund for African Art supported by Guaranty Trust Bank plc 2013

T13934

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

7006792 1089615 1000513 1000160 7001242

Meschac Gaba

2,013

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false

1

https://media.tate.org.u…13/T13934_10.jpg

8313

installation fabric cotton thread metal coins

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Museum of Contemporary African Art in London

2,013

Tate

2013

CLEARED

3

object: 2200 × 1540 mm

accessioned work

Tate

Purchased with funds provided by the Acquisitions Fund for African Art supported by Guaranty Trust Bank plc 2013

[]

[ "abstraction", "Africa", "banner", "coat of arms", "coin", "countries and continents", "emotions, concepts and ideas", "England", "formal qualities", "London - non-specific", "map", "miscellaneous", "non-representational", "objects", "places", "poster", "reading, writing, printed matter", "religious and ceremonial", "scientific and measuring", "text", "texture", "UK countries and regions", "UK London" ]

null

false

7325 17936 7757 10112 2803 1205 2898 287 185 4896 174 169 172 445 8577 9301

false

artwork

Acrylic ink, varnish, diamond dust and gesso on wood

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118,610

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2,012

<a href="https://www.tate.org.uk/art/artists/r-h-quaytman-15967" aria-label="More by R. H. Quaytman" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">R. H. Quaytman</a>

Still Life

2,014

[]

Presented by the artist 2013

T13935

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

7013445 1002923 7007517 7012149

R. H. Quaytman

2,012

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Still Life 2012–13 is a small abstract painting made using acrylic ink, varnish, ‘diamond dust’ and gesso on a wood panel by the American artist R.H. Quaytman. It is one of a number of paintings in which the artist has used ground glass, or ‘diamond dust’, in order to give the surface a glittery quality which both attracts the eye and sets up reflections that repel vision. It features a central poured white shape over a slightly wider area of brown against a black ground. In the bottom right corner the black ground tapers away from the edge of the panel to reveal the gesso. This effect is replicated to a lesser extent in the bottom left corner. The painting was made by the artist as part of a group of works in Tate’s collection and can be shown either with them or independently. The other works are: Spine, Chapter 20 2010 (Tate T14262), Spine, Chapter 20 (Ark) 2010 (Tate T14261), Spine, Chapter 20 2010 (Tate T14263), Spine, Chapter 20 (iamb / Graham) 2010 (Tate T14264), Spine Chapter 20 (The Sun) 2001–10 (Tate T14265) and Cherchez Holopherne, Chapter 21 2011 (Tate T14267).

false

1

https://media.tate.org.u…13/T13935_10.jpg

15967

painting acrylic ink varnish diamond dust gesso wood

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Still Life

2,012

Tate

2012–3

CLEARED

6

support: 508 × 305 × 20 mm

accessioned work

Tate

Presented by the artist 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nStill Life 2012–13 is a small abstract painting made using acrylic ink, varnish, ‘diamond dust’ and gesso on a wood panel by the American artist R.H. Quaytman. It is one of a number of paintings in which the artist has used ground glass, or ‘diamond dust’, in order to give the surface a glittery quality which both attracts the eye and sets up reflections that repel vision. It features a central poured white shape over a slightly wider area of brown against a black ground. In the bottom right corner the black ground tapers away from the edge of the panel to reveal the gesso. This effect is replicated to a lesser extent in the bottom left corner. The painting was made by the artist as part of a group of works in Tate’s collection and can be shown either with them or independently. The other works are: Spine, Chapter 20 2010 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/quaytman-spine-chapter-20-t14262\" title=\"View the details of this artwork\">T14262</a>), Spine, Chapter 20 (Ark) 2010 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/quaytman-spine-chapter-20-ark-t14261\" title=\"View the details of this artwork\">T14261</a>), Spine, Chapter 20 2010 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/quaytman-spine-chapter-20-beard-t14263\" title=\"View the details of this artwork\">T14263</a>), Spine, Chapter 20 (iamb / Graham) 2010 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/quaytman-spine-chapter-20-iamb-graham-t14264\" title=\"View the details of this artwork\">T14264</a>), Spine Chapter 20 (The Sun) 2001–10 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/quaytman-spine-chapter-20-the-sun-t14265\" title=\"View the details of this artwork\">T14265</a>) and Cherchez Holopherne, Chapter 21 2011 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/quaytman-cherchez-holopherne-chapter-21-t14267\" title=\"View the details of this artwork\">T14267</a>).\nSince the late 1990s Quaytman has been making paintings on plywood panels. The panels are fabricated with bevelled edges so that the picture plane stands out from the wall. She works with seven different sizes of panels. The size of six of these is determined by a system of proportion based on the golden section: each smaller panel multiplies by 1.618 to form the size of the next largest panel. The panels are prepared with layers of gesso and all the larger paintings are then silkscreened. Quaytman usually paints a single trompe l’oeil strip, or a series of strips, over the silkscreened image: this strip is a painted depiction of the plywood layers on the side of the panel. Quaytman also makes smaller hand-painted panels which she calls ‘Captions’.\nFrom 2001 onwards Quaytman has produced paintings in groups that she refers to as ‘Chapters’ (see, for example, the five paintings dating from 2010 from the series called Spine, Chapter 20, Tate T14261–T14265). Individual ‘Chapters’ are created for specific exhibitions and the source material for the silkscreens for each Chapter is generated from research that Quaytman conducts during the preparation for the exhibition. For each Chapter Quaytman interweaves research into her personal history, her curatorial and social activities in the art world, into art history and into the history and architecture of the site of the exhibition. The resulting silkscreens might feature images of buildings, artworks, other artists, book illustrations or architectural models. Some of the paintings are totally abstract. An abstract painting might be a composition created by Quaytman, or it might be based on a pattern or image discovered during research. Many of the abstract works feature silkscreened patterns from works by op artists. Quaytman sees these op works as a counter to her paintings which feature photographic images, because the op patterns attract and repel vision, while the photographic works invite one to look into the image.\nQuaytman makes and shows her paintings in series so that, in her words, ‘each painting is informed by others in a temporal sequence’ as the viewer encounters them and in order to ‘counter the authority of the single monocular painting’ (Quaytman 2011, p.7). She has installed her Chapters in different ways, sometimes as groups of paintings conventionally arranged along a wall, but also in shelves where one panel might lean on another, recalling the appearance of an archive (such as those where her research has begun) or a storage facility (such as one where her panels might be housed while not on display). She has at times also adapted the exhibition architecture to parallel the structure of a book, for instance building a diagonal wall in a rectangular space, and treating it as two sides of a page.\n\nFurther reading\n Luke Cohen, ‘Catachreses: On Rebecca H. Quaytman’, Texte zur Kunst, no.77, March 2010, pp.136–40. Paul Galvez, ‘Tabula Rasa: The Art of R.H. Quaytman’, Artforum, September 2011, pp.302–11. R.H. Quaytman, Spine, Berlin 2011.\nMark Godfrey May 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-04-12T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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

null

false

227 796 185

false

artwork

Oil paint on canvas

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118,611

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1,964

<a href="https://www.tate.org.uk/art/artists/sir-frank-bowling-obe-ra-792" aria-label="More by Sir Frank Bowling OBE RA" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Sir Frank Bowling OBE RA</a>

Mirror

2,014

[]

Presented by the artist, Rachel Scott, and their 4 children: Benjamin and Sacha Bowling, Marcia and Iona Scott 2013

T13936

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1000054 1000002

Sir Frank Bowling OBE RA

1,964

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Frank Bowling explained that Mirror was ‘about making a painting’. He combined different approaches to figurative and abstract work, from op art to colour field painting. At the centre is the spiral staircase at the painting studios of the Royal College of Art, where he had studied. Bowling appears swinging from the top of the staircase and again at the bottom, painted in a very different way. In between stands his then-wife, writer Paddy Kitchen. In 1966, feeling increasingly pigeon-holed as a Black artist, Bowling left London for New York.Gallery label, September 2023

false

1

https://media.tate.org.u…T13/T13936_9.jpg

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painting oil paint canvas

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Mirror

1,964

Tate

1964–6

CLEARED

6

support: 3100 × 2168 mm

accessioned work

Tate

Presented by the artist, Rachel Scott, and their 4 children: Benjamin and Sacha Bowling, Marcia and Iona Scott 2013

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null

false

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false

artwork

Wood, metal, paint, felt, textile and nails

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118,612

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1,966

<a href="https://www.tate.org.uk/art/artists/raphael-montanez-ortiz-16536" aria-label="More by Raphael Montañez Ortiz" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Raphael Montañez Ortiz</a>

Duncan Terrace Piano Destruction Concert Landesmans Homage to Spring can really hang you up most

2,014

[]

Accepted by HM Government In lieu of inheritance tax from the Estate of Jay and Fran Landesman, 2012 and allocated to Tate 2014

T13937

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

436

7015822 7007567 1002551 7007568 7012149

Raphael Montañez Ortiz

1,966

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Raphael Montañez Ortiz hit a piano with an axe for his Piano Destruction Concerts. Eurocentric oppression’ and the performance was a ‘ritual of release’. Ortiz linked his work to Indigenous North American Kwakiutl potlatch ceremonies, where property is destroyed by its owner. Composer Fran Landesman invited Ortiz to perform his Destruction Concert on her own piano at her home.Gallery label, May 2023

false

1

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16536

sculpture wood metal paint felt textile nails

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Duncan Terrace Piano Destruction Concert: The Landesmans’ Homage to “Spring can really hang you up the most”

1,966

Tate

1966

CLEARED

8

object: 1420 × 1245 × 280 mm

accessioned work

Tate

Accepted by HM Government In lieu of inheritance tax from the Estate of Jay and Fran Landesman, 2012 and allocated to Tate 2014

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nDuncan Terrace Piano Destruction Concert: The Landesmans’ Homage to “Spring can really hang you up the most” 1966 is a sculpture that resulted from a piano destruction concert that took place at the London home of the writer Jay Landesman and his wife the composer Fran Landesman on 10 October 1966. The happening, by the American artist Raphael Montañez Ortiz, took place following Landemans’s invitation. It formed part of the Destruction In Art Symposium (DIAS) held in London from 31 August to 30 September 1966, organised by Gustav Metzger and John Sharkey, which had brought Ortiz to London. The context of the symposium encouraged the artist to extend his practice from the studio and into the creation of sculptures as the end result of performances, a pivotal development in his practice. The work consists of the partially destroyed back frame and harp of an upright piano with some of its broken wires still attached. The frame has been turned ninety degrees to take on a portrait format and is displayed attached to the wall; some elements of the broken piano frame were glued and re-consolidated by the artist following the event.\nDIAS is now recognised as one of the key international gatherings of happenings artists in the mid-1960s. Ortiz was arguably one of the more prominent participants (alongside Yoko Ono and the Viennese Actionists), both performing a number of destruction ritual events and taking part in discussions throughout the month-long symposium. These events included three piano destruction concerts (one filmed by the BBC, one by American network ABC; the Duncan Terrace Piano Destruction Concert was also recorded); two chair destruction rituals (one for the press conference opening of DIAS and the Duncan Terrace Chair Destruction); one mattress destruction ritual (at Duncan Terrace); two paper bag destruction concerts; and one self-destruction realisation (this latter directly influenced American psychotherapist Arthur Janov’s formulation of Primal Therapy in his publication The Primal Scream 1970).\nPrior to the piano destruction, Ortiz had asked that the piano be tuned – it was the piano that Fran Landesman had used to compose a number of her popular musicals, including the hit for which she wrote the words Spring Can Really Hang You Up The Most (1955) and the lyrics for her husband’s comedy musical Dearest Dracula (1965). Ortiz paid attention to the harmonics of sound made through the process of destruction or ‘un-making’ and in this event the sound was recorded (a recording accompanies the work), thus providing one aspect of the ‘redemptive’ power of the destruction concert. Ortiz envisages such rituals as part of a ‘shamanic and biblical redemptive sacrificial process, a Kwakiutl-Potlatch Destruction ritual of release, a synesthetic multi-dimensional release’ (Ortiz in email correspondence with Tate curator Andrew Wilson, 24 May 2012). In this description he refers to the practice among Native American groups, specifically the Kwakiutl, of ‘potlatch’, a ceremonial festival at which gifts are bestowed on the guests and property is destroyed by its owner in a show of wealth that the guests later attempt to surpass. The title of the finished work Duncan Terrace Piano Destruction Concert: The Landesmans’ Homage to “Spring can really hang you up the most” was decided between Ortiz and Landesman as a way of enshrining the history of the particular piano used.\nOrtiz has described in detail the course of the Duncan Terrace Piano Destruction Concert, the audience for which included two curators from the then Tate Gallery – Ronald Alley and Richard Morphet – as well as the DIAS photographer John Prosser, gathered in the basement of the house as the piano was carried down the stairs:\n\n<blockquote>The rest of us were holding ropes lowering the piano down to the basement when it rolled up on end and got stuck about a third way down the steps between the steps and the ceiling, again the lord works in mysterious ways … I announced there is an esthetic reason why the piano chose to be stuck there … The stairwell will act as a funnel projecting the sound with amplification into the basement … The first hit of the axe proved my theory, the sound resonated as I have never heard before, and in addition to the drama of the sound the sounds of pieces of the piano which would otherwise however far they flew just land on the floor played a much more dramatic role in the sound of the concert as they tumbled down the steps in an orchestration with the piano’s amplified sound of resonating strings … Another new potential piano destruction concert sound joined my repertoire. (Ortiz in email correspondence with Tate curator Andrew Wilson, 24 May 2012.)</blockquote>\n\nFurther reading\n \nRafael Montañez Ortiz (Ralph Ortiz), Years of the Warrior 1960, Years of the Psyche 1988, exhibition catalogue, El Museo del Barrio, New York 1988. \nUnmaking: The Work of Raphael Montañez Ortiz, exhibition catalogue, Jersey City Museum, Jersey City 2007 <a href=\"http://www.jerseycitymuseum.org/documents/ORTIZ_VirtualCatalog_SP07.pdf\">http://www.jerseycitymuseum.org/documents/ORTIZ_VirtualCatalog_SP07.pdf</a>, accessed April 2013.\nAndrew Wilson April 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-06-15T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nRaphael Montañez Ortiz hit a piano with an axe for his Piano Destruction Concerts. Eurocentric oppression’ and the performance was a ‘ritual of release’. Ortiz linked his work to Indigenous North American Kwakiutl potlatch ceremonies, where property is destroyed by its owner. Composer Fran Landesman invited Ortiz to perform his Destruction Concert on her own piano at her home.\n</div>\n", "display_name": "Display caption", "publication_date": "2023-05-18T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "abstraction", "arts", "destruction", "emotions, concepts and ideas", "England", "event: symposium, ‘Destruction in Art Symposium’, 1966", "film, music and ballet", "fine arts and music", "from recognisable sources", "history", "instrument, piano", "Islington, Duncan Terrace", "Landesman, Fran", "Landesman, Jay", "literature and fiction", "man-made", "music: Landesman, Fran, ‘Spring Can Really Hang You Up the Most’", "named individuals", "objects", "people", "places", "UK countries and regions", "UK London", "universal concepts" ]

null

false

18725 1715 2803 10058 80 189 1861 222 9301 30

true

artwork

Wood, metal, straw, horse hair, cotton, canvas, varnish, nails

[ { "append_role_to_name": false, "date": "born 1934", "fc": "Raphael Montañez Ortiz", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/raphael-montanez-ortiz-16536" } ]

118,617

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

1,966

<a href="https://www.tate.org.uk/art/artists/raphael-montanez-ortiz-16536" aria-label="More by Raphael Montañez Ortiz" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Raphael Montañez Ortiz</a>

Duncan Terrace Chair Destruction

2,014

[]

Accepted by HM Government In lieu of inheritance tax from the Estate of Jay and Fran Landesman, 2012 and allocated to Tate 2014

T13938

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

7015822 7007567 1002551 7007568 7012149

Raphael Montañez Ortiz

1,966

[]

Duncan Terrace Chair Destruction 1966 consists of a broken-up, dismembered and eviscerated upholstered armchair, the result of a happening by the American artist Raphael Montañez Ortiz. The chair appears to have been splayed, with its stuffing, springs, canvas and leather interior exposed and its joints weakened so that it can be presented hung against the wall more or less flat. The event took place at the London home of the writer Jay Landesman and his wife the composer Fran Landesman during the last week of September 1966. The event was part of the Destruction In Art Symposium (DIAS) that was organised by Gustav Metzger and John Sharkey and held in London from 31 August to 30 September 1966.

false

1

https://media.tate.org.u…T13/T13938_9.jpg

16536

sculpture wood metal straw horse hair cotton canvas varnish nails

[ { "artistRoomsTour": false, "dateText": "13 April 2022 – 30 April 2023", "endDate": "2023-04-30", "exhibitionLegs": [ { "dateText": "13 April 2022 – 11 September 2022", "endDate": "2022-09-11", "id": 14783, "startDate": "2022-04-13", "venueName": "El Museo del Barrio (New York, USA)", "venueWebsiteUrl": null }, { "dateText": "1 November 2022 – 30 April 2023", "endDate": "2023-04-30", "id": 14799, "startDate": "2022-11-01", "venueName": "Museo Tamayo Arte Contemporáneo (Mexico City, Mexico)", "venueWebsiteUrl": null } ], "id": 12160, "startDate": "2022-04-13", "title": "Raphael Montañez Ortíz: A Contextual Retrospective", "type": "Loan-out" } ]

Duncan Terrace Chair Destruction

1,966

Tate

1966

CLEARED

8

object: 1500 × 1020 × 620 mm

accessioned work

Tate

Accepted by HM Government In lieu of inheritance tax from the Estate of Jay and Fran Landesman, 2012 and allocated to Tate 2014

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nDuncan Terrace Chair Destruction 1966 consists of a broken-up, dismembered and eviscerated upholstered armchair, the result of a happening by the American artist Raphael Montañez Ortiz. The chair appears to have been splayed, with its stuffing, springs, canvas and leather interior exposed and its joints weakened so that it can be presented hung against the wall more or less flat. The event took place at the London home of the writer Jay Landesman and his wife the composer Fran Landesman during the last week of September 1966. The event was part of the Destruction In Art Symposium (DIAS) that was organised by Gustav Metzger and John Sharkey and held in London from 31 August to 30 September 1966.\nDIAS is now recognised as one of the key international gatherings of happenings artists in the mid-1960s. Ortiz was arguably one of the more prominent participants (alongside Yoko Ono and the Viennese Actionists), performing a number of destruction ritual events and taking part in discussions throughout the month-long symposium. These events included three piano destruction concerts (one filmed by the BBC and one by American network ABC, while Duncan Terrace Piano Destruction Concert was also recorded); two chair destruction rituals (one for the press conference opening of DIAS and Duncan Terrace Chair Destruction); one mattress destruction ritual (at Duncan Terrace); two paper bag destruction concerts; and one self-destruction realisation (this latter directly influenced American psychotherapist Arthur Janov’s formulation of Primal Therapy in his publication The Primal Scream 1970).\nOrtiz would have first encountered Jay Landesman in his role as a journalist covering DIAS – Landesman wrote about it for the underground newspaper International Times (‘Two Views of DIAS; September is the Cruellest Month’, International Times, no.1, 14–27 October 1966, p.9) and sometime in mid-September Ortiz arranged with Landesman that he would carry out piano and chair destruction works at his home along with the now lost Duncan Terrace Mattress Destruction. Sometime during the last week of September, Ortiz carried out the chair and mattress destructions. The piano destruction concert had been planned to take place at the same time, but this was carried out in front of an invited audience on 10 October. The partially destroyed back frame and harp of an upright piano, produced during this happening is also in the Tate collection (see Duncan Terrace Piano Destruction Concert: The Landesmans’ Homage to “Spring can really hang you up the most” 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/ortiz-duncan-terrace-piano-destruction-concert-the-landesmans-homage-to-spring-can-really-t13937\" title=\"View the details of this artwork\">T13937</a>).\nOrtiz envisages such destruction rituals as part of a ‘shamanic and biblical redemptive sacrificial process, a Kwakiutl-Potlatch Destruction ritual of release, a synesthetic multi-dimensional release’ (Ortiz in email correspondence with Tate curator Andrew Wilson, 24 May 2012). In this description he refers to the practice among Native American groups, specifically the Kwakiutl, of ‘potlatch’, a ceremonial festival at which gifts are bestowed on the guests and property is destroyed by its owner in a show of wealth that the guests later attempt to surpass. Emerging in the early 1960s in the context of the happenings movement, Ortiz had developed a practice out of montage filmmaking and abstract painting that involved the destruction of domestic objects, such as chairs, sofas and mattresses, which could be seen as surrogates for the body. The Duncan Terrace destruction works were a development of these earlier works to which he gave the generic title Archaeological Find in recognition of the degree to which ‘un-making’ takes place as a peeling back of layers of an object’s history and making it strange. The historian Rocío Aranda-Alvarado has suggested that ‘For Ortiz, excavating the object became a process through which he sought out the spirit’ (Rocío Aranda-Alvarado in Jersey City Museum 2007, p.7). Such a view is reflected in Ortiz’ manifesto of 1962, Destructivism, in which he identified his destruction work as reflective of:\n\n<blockquote>the symbolic sacrifice that releases one from the weight of guilt, fear and anguish. It is the sacrificial action which releases and raises one to the heights … It is therefore not difficult to comprehend how as a mattress or other man-made object is released and transcends its logically determined form through destruction, an artist, led by associations and experiences resulting from his destruction of the man-made objects, is also released from and transcends his logical self. (Ortiz in El Museo del Barrio 1988, p.52.)</blockquote>\n\nFurther reading\n \nRafael Montañez Ortiz (Ralph Ortiz), Years of the Warrior 1960, Years of the Psyche 1988, exhibition catalogue, El Museo del Barrio, New York 1988. \nUnmaking: The Work of Raphael Montañez Ortiz, exhibition catalogue, Jersey City Museum, Jersey City 2007 <a href=\"http://www.jerseycitymuseum.org/documents/ORTIZ_VirtualCatalog_SP07.pdf\">http://www.jerseycitymuseum.org/documents/ORTIZ_VirtualCatalog_SP07.pdf</a>, accessed April 2013.\nAndrew Wilson April 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-06-15T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[]

null

false

artwork

Clay, wire, metal trolley, led light, perspex

[ { "append_role_to_name": false, "date": "born 1955", "fc": "Alexander Brodsky", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/alexander-brodsky-18140" } ]

118,618

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2,012

<a href="https://www.tate.org.uk/art/artists/alexander-brodsky-18140" aria-label="More by Alexander Brodsky" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Alexander Brodsky</a>

Factory

2,014

[]

Presented by Calvert 22 Foundation London 2013

T13939

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

7012974 7018215 7018214 7002435 1000004

Alexander Brodsky

2,012

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Created by the Russian artist and architect Alexander Brodsky, The Factory 2012 is a large model of a factory building made of a metal skeleton with an unfired clay surface and covered with a Perspex case. The model resembles those made and used by architects; however, unlike the pristine surfaces of those structures, Brodsky’s The Factory is crumbling and dilapidated. Nor does the model represent any particular building, but instead serves as an archetypal example of mid-twentieth-century industrial architecture prevalent in the post-war Soviet Union.

false

1

https://media.tate.org.u…13/T13939_10.jpg

18140

sculpture clay wire metal trolley led light perspex

[ { "artistRoomsTour": false, "dateText": "19 May 2014 – 27 September 2015", "endDate": "2015-09-27", "exhibitionLegs": [ { "dateText": "19 May 2014 – 27 September 2015", "endDate": "2015-09-27", "id": 8827, "startDate": "2014-05-19", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 7233, "startDate": "2014-05-19", "title": "Alexander Brodsky and Ilya Utkin", "type": "Collection based display" } ]

The Factory

2,012

Tate

2012

CLEARED

8

object: 1650 × 1810 × 690 mm

accessioned work

Tate

Presented by Calvert 22 Foundation London 2013

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nCreated by the Russian artist and architect Alexander Brodsky, The Factory 2012 is a large model of a factory building made of a metal skeleton with an unfired clay surface and covered with a Perspex case. The model resembles those made and used by architects; however, unlike the pristine surfaces of those structures, Brodsky’s The Factory is crumbling and dilapidated. Nor does the model represent any particular building, but instead serves as an archetypal example of mid-twentieth-century industrial architecture prevalent in the post-war Soviet Union.\nBy referencing a standardised building type from the Soviet Union, The Factory relates to Brodsky’s activity in the Russian group of ‘paper architects’. The movement was initiated in the late 1970s as a defiant response to the state-sanctioned, homogenous, low quality architecture of Soviet times. Its members sketched utopian, fictional designs for buildings they knew would never be constructed, such as the series of etchings entitled Projects 1981–90, which Brodsky produced in collaboration with Ilya Utkin (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/brodsky-utkin-amphitheater-p14564\" title=\"View the details of this artwork\">P14564</a>– <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/brodsky-utkin-wandering-turtle-p14598\" title=\"View the details of this artwork\">P14598</a>). Rather than imagine a new building, The Factory shows the officially sanctioned style in a state of degradation, falling apart like the ideology it represented. Likewise, the specification that this is a factory refers to the failure of the communist state. As such this work, along with that produced by the paper architects group during the communist regime, acknowledged the power of architecture to shape society and lived experience.\nThe use of models or miniatures is a persistent motif in Brodsky’s sculptures and installations. This can be seen as an extension of the work of the paper architects group; allowing space not only to imagine new and different buildings, but to stage their destruction and explore the ideological function of architecture. In his 2000 installation Coma at the Guelman Gallery in Moscow, for instance, he created a maquette of a city sinking slowly into dark oil, commenting on the saturation of contemporary Russian society and politics in the oil industry. Miniature dimensions allow the viewer to analyse more closely the gap between architecture’s grand aspirations and the sometimes prosaic and disappointing reality of its execution. Brodsky has explained, ‘I wanted to show [the city] as if it was in a hospital on a surgeon’s table’ (quoted in Galilee 2007, accessed 3 June 2013).\nBrodsky’s pessimistic and nostalgic visions are often reinforced by the use of evocative materials, like plastic bags, ice or oil. In The Factory the artist used unfired clay, a material that recurs in many works because of its vulnerability. This has important metaphorical ramifications for Brodsky, particularly in relation to architecture as a political tool. He has commented: ‘It is very fragile, and fragility is an important quality for me. It may become dust at any moment, but if you don’t touch it, it stays forever.’ (Quoted in Moore 2012, accessed April 2013.) In this way the unfired clay and the debris-stricken surface of the work contrasts with the form of the architectural model, which traditionally serves as a starting point for construction. This is a model ruin, which although never built, falls apart. Many of Brodsky’s works, including his early collaborations with Utkin, celebrate decay and entropy. His sculptures and installations appear on the verge of collapse, triggering a bitter reflection on unrealised ideal cities and failed modernist utopias.\n\nFurther reading\n Beatrice Galilee, ‘Alexander Brodsky’, Icon Magazine, no.54, December 2007, <a href=\"https://www.iconeye.com/404/item/2848-alexander-brodsky-%7C-icon-054-%7C-december-2007\">https://www.iconeye.com/404/item/2848-alexander-brodsky-%7C-icon-054-%7C-december-2007</a>, accessed 3 June 2013. \nWhite Room/Black Room: Alexander Brodsky, exhibition catalogue, Calvert 22, London 2012. Rowan Moore, ‘White Room / Black Room: Alexander Brodsky – Review’, Guardian, 7 October 2012, <a href=\"http://www.guardian.co.uk/artanddesign/2012/oct/07/alexander-brodsky-white-room-black-review\">http://www.guardian.co.uk/artanddesign/2012/oct/07/alexander-brodsky-white-room-black-review</a>, accessed April 2013.\nKasia Redzisz April 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-04-11T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "abstraction", "architecture", "factory", "from recognisable sources", "industrial", "man-made" ]

null

false

823 189 19 222

false

artwork

Oil paint on board

[ { "append_role_to_name": false, "date": "born 1957", "fc": "Vicken Parsons", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/vicken-parsons-18149" } ]

118,620

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2,005

<a href="https://www.tate.org.uk/art/artists/vicken-parsons-18149" aria-label="More by Vicken Parsons" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Vicken Parsons</a>

2,014

[]

Presented by Tate Members 2013

T13940

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

7011781 7008145 7002445 7008591

Vicken Parsons

2,005

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Vicken Parsons depicts a combination of fictional and partially-recalled places. The borders of rooms suggest complex and even confounding spaces. Shifting perspectives challenge the stability of perception and simultaneously invite, and occasionally prevent, the viewer from imaginatively exploring these rooms. Parsons omits objects and inhabitants, depicting the architectural skeleton of an interior. However, a sense of presence is conveyed through the use of light and shadow to lend the paintings an atmosphere of intimacy, memory and mystery as well as pictorial depth.Gallery label, September 2016

false

1

https://media.tate.org.u…13/T13940_10.jpg

18149

painting oil paint board

[ { "artistRoomsTour": false, "dateText": "14 March 2015 – 18 December 2016", "endDate": "2016-12-18", "exhibitionLegs": [ { "dateText": "14 March 2015 – 18 December 2016", "endDate": "2016-12-18", "id": 9660, "startDate": "2015-03-14", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 7938, "startDate": "2015-03-14", "title": "Gallery 55, 56 & 59", "type": "Collection based display" } ]

Untitled

2,005

Tate

2005

CLEARED

6

support: 170 × 210 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

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nUntitled 2005 is an oil painting by the artist Vicken Parsons. It has a pale ground across which two light-coloured oblique lines meet just off centre, suggesting a corner of a room. A dark coloured rectangle and triangle intersect the lines, creating the effect of shadow on the left-hand wall. This is one of a group of small oil paintings by Parsons in Tate’s collection dating from between 2005 and 2012. Each of the paintings in the group suggest pared down architectural interiors (see Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/parsons-untitled-t13940\" title=\"View the details of this artwork\">T13940</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/parsons-untitled-t13942\" title=\"View the details of this artwork\">T13942</a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/parsons-untitled-t14110\" title=\"View the details of this artwork\">T14110</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/parsons-untitled-t14112\" title=\"View the details of this artwork\">T14112</a>).\nParsons’s interior paintings of borders and edges tread a fine line between representing a place and painterly abstraction. Her compositions are articulated by spare charcoal line drawings overlaid with washes of thinned oil paint, often in a muted palette. They usually have little extraneous details and use a vocabulary of ambiguous corners, passageways, doorways, tilted floors, tipped planes, apertures, screens, tunnels and low ceilings. Shifting perspectives challenge the stability of perception and simultaneously invite and occasionally prevent the viewer from imaginatively exploring the rooms depicted. The rooms are a combination of fictional and partially recalled places, including the artist’s studio but Parson’s omits any objects, inhabitants or recognisable features concentrating instead on the essential architectural skeleton of an interior. However, a sense of presence is conveyed through the use of light and shadow, although they are emitted or cast from unseen sources. These elements lend the paintings an atmosphere of intimacy and mystery as well as pictorial depth. The luminosity and translucency of the muted tonal range of the thinned oils which Parsons uses, accentuated by rare bursts of intense colour, and the thick plywood supports give the works a sculptural quality.\nUntil the late 1990s Parsons primarily made figurative paintings, yet despite the absence of objects or people in this series they still reference the body. The spaces depicted are those that might be inhabited. Parsons is interested in the idea of a room as an extension of the self, as a chamber for feelings and sensations and she often draws comparisons between physical and mental spaces. The art historian Anna Moszynska has gone as far to compare Parsons’s rooms to bodies, writing that:\n\n<blockquote>The walls are comparable to skin; they breathe, resonate and contain the feeling of being inside them. While the body is always in a fixed place, the mind roams free and cannot be contained. Thus, the space which appears in the paintings is not a representation of a real room but an abstraction which pays tribute to the imagination and the power of memory to absorb and filter experience. What we find in the work is always a sensation of the room, felt through the body and altered beyond recognition in the act of its [re]creation as painting. (Moszynska 1999, unpaginated.)</blockquote>\nConcurrent with this group of work Parsons has also painted sparse land and seascapes, often dominated by high or low horizon lines (for example, Untitled 2010, reproduced in Alan Cristea Gallery 2012, pl.14). Inspired by barren Icelandic environments and the ambiguous qualities of northern light, these works are expansive and without borders. They share with the interiors the sense of an ambivalent place for the projection of personal feelings and thoughts.\n\nFurther reading\n Anna Moszynska, Vicken Parsons, exhibition catalogue, A22 Gallery, London 1999. Michael Archer, Other Places: Vicken Parsons, exhibition catalogue, Tate St Ives 2001. Darian Leader, Vicken Parsons: Here, exhibition catalogue, Alan Cristea Gallery, London 2012.\nMelissa Blanchflower April 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-06-19T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\nVicken Parsons depicts a combination of fictional and partially-recalled places. The borders of rooms suggest complex and even confounding spaces. Shifting perspectives challenge the stability of perception and simultaneously invite, and occasionally prevent, the viewer from imaginatively exploring these rooms. Parsons omits objects and inhabitants, depicting the architectural skeleton of an interior. However, a sense of presence is conveyed through the use of light and shadow to lend the paintings an atmosphere of intimacy, memory and mystery as well as pictorial depth.\n</div>\n", "display_name": "Display caption", "publication_date": "2016-09-06T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "abstraction", "domestic", "from recognisable sources", "geometric", "interior - non-specific", "interiors", "man-made", "non-representational" ]

null

false

41 189 226 527 222 185

false

artwork

Oil paint on board

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118,621

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2,010

<a href="https://www.tate.org.uk/art/artists/vicken-parsons-18149" aria-label="More by Vicken Parsons" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Vicken Parsons</a>

2,014

[]

Presented by Tate Members 2013

T13941

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

7011781 7008145 7002445 7008591

Vicken Parsons

2,010

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Untitled 2010 is an oil painting by Vicken Parsons. Diagonal lines, originating just below the corners of the painting, meet at the corners of an irregular rectangle in the centre of the painting. The effect is that of an empty box or room. The lines create a tunnel perspective where the walls, ceiling and floor converge. The thin wash of pale oil paint over the geometric sketch reveals the grain and warm blush skin of the plywood panel on which the work is painted. This is one of a group of small oil paintings by Parsons in Tate’s collection, dating from between 2005 and 2012, which suggest pared down architectural interiors (see Tate T13940–T13942, T14110–T14112).

false

1

https://media.tate.org.u…13/T13941_10.jpg

18149

painting oil paint board

[ { "artistRoomsTour": false, "dateText": "14 March 2015 – 18 December 2016", "endDate": "2016-12-18", "exhibitionLegs": [ { "dateText": "14 March 2015 – 18 December 2016", "endDate": "2016-12-18", "id": 9660, "startDate": "2015-03-14", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 7938, "startDate": "2015-03-14", "title": "Gallery 55, 56 & 59", "type": "Collection based display" } ]

Untitled

2,010

Tate

2010

CLEARED

6

support: 170 × 210 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

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n\nUntitled 2010 is an oil painting by Vicken Parsons. Diagonal lines, originating just below the corners of the painting, meet at the corners of an irregular rectangle in the centre of the painting. The effect is that of an empty box or room. The lines create a tunnel perspective where the walls, ceiling and floor converge. The thin wash of pale oil paint over the geometric sketch reveals the grain and warm blush skin of the plywood panel on which the work is painted. This is one of a group of small oil paintings by Parsons in Tate’s collection, dating from between 2005 and 2012, which suggest pared down architectural interiors (see Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/parsons-untitled-t13940\" title=\"View the details of this artwork\">T13940</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/parsons-untitled-t13942\" title=\"View the details of this artwork\">T13942</a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/parsons-untitled-t14110\" title=\"View the details of this artwork\">T14110</a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/parsons-untitled-t14112\" title=\"View the details of this artwork\">T14112</a>).\nParsons’s interior paintings of borders and edges tread a fine line between representing a place and painterly abstraction. Her compositions are articulated by spare charcoal line drawings overlaid with washes of thinned oil paint, often in a muted palette. They usually have little extraneous details and use a vocabulary of ambiguous corners, passageways, doorways, tilted floors, tipped planes, apertures, screens, tunnels and low ceilings. Shifting perspectives challenge the stability of perception and simultaneously invite and occasionally prevent the viewer from imaginatively exploring the rooms depicted. The rooms are a combination of fictional and partially recalled places, including the artist’s studio but Parson’s omits any objects, inhabitants or recognisable features concentrating instead on the essential architectural skeleton of an interior. However, a sense of presence is conveyed through the use of light and shadow, although they are emitted or cast from unseen sources. These elements lend the paintings an atmosphere of intimacy and mystery as well as pictorial depth. The luminosity and translucency of the muted tonal range of the thinned oils which Parsons uses, accentuated by rare bursts of intense colour, and the thick plywood supports give the works a sculptural quality.\nUntil the late 1990s Parsons primarily made figurative paintings, yet despite the absence of objects or people in this series they still reference the body. The spaces depicted are those that might be inhabited. Parsons is interested in the idea of a room as an extension of the self, as a chamber for feelings and sensations and she often draws comparisons between physical and mental spaces. The art historian Anna Moszynska has gone as far to compare Parsons’s rooms to bodies, writing that:\n\n<blockquote>The walls are comparable to skin; they breathe, resonate and contain the feeling of being inside them. While the body is always in a fixed place, the mind roams free and cannot be contained. Thus, the space which appears in the paintings is not a representation of a real room but an abstraction which pays tribute to the imagination and the power of memory to absorb and filter experience. What we find in the work is always a sensation of the room, felt through the body and altered beyond recognition in the act of its [re]creation as painting. (Moszynska 1999, unpaginated.)</blockquote>\nConcurrent with this group of work Parsons has also painted sparse land and seascapes, often dominated by high or low horizon lines (for example, Untitled 2010, reproduced in Alan Cristea Gallery 2012, pl.14). Inspired by barren Icelandic environments and the ambiguous qualities of northern light, these works are expansive and without borders. They share with the interiors the sense of an ambivalent place for the projection of personal feelings and thoughts.\n\nFurther reading\n Anna Moszynska, Vicken Parsons, exhibition catalogue, A22 Gallery, London 1999. Michael Archer, Other Places: Vicken Parsons, exhibition catalogue, Tate St Ives 2001. Darian Leader, Vicken Parsons: Here, exhibition catalogue, Alan Cristea Gallery, London 2012.\nMelissa Blanchflower April 2013\n</div>\n", "display_name": "Summary", "publication_date": "2018-06-19T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "abstraction", "domestic", "emotions, concepts and ideas", "from recognisable sources", "geometric", "interior - non-specific", "interiors", "man-made", "non-representational", "universal concepts", "void" ]

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artwork