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Cotton, wool and textiles on cotton and ink on paper	[ { "append_role_to_name": false, "date": "", "fc": "Unknown woman artist, Chile", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/unknown-woman-artist-chile-27644" } ]	120,720	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 256314, "shortTitle": "Arpilleras: group of 20 patchwork pictures from Chile" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,970	Unknown woman artist, Chile		2,018		[]	Presented by Guy Brett and Alejandra Altamirano 2018	T15005	{ "id": 8, "meta": { "type": "art.Classification" } }			1000049 1000002	Unknown woman artist, Chile	1,970	[]	<p>This work is one of a group of textile works in Tate’s collection by unknown Chilean female artists (Tate T14998–T15017). Known as <span>arpilleras</span>, which literally means ‘burlap’ in Spanish, these historic patchworks represent a popular form of artistic expression and political resistance that emerged in Latin America in the twentieth century. They were created in the 1970s by women from Chile’s most economically underprivileged population. Generally the artists remained anonymous because of the political subject matter of their work.</p>	false	1	https://media.tate.org.u…15/T15005_10.jpg	27644	sculpture cotton wool textiles ink paper	[ { "artistRoomsTour": false, "dateText": "25 November 2019 – 19 July 2020", "endDate": "2020-07-19", "exhibitionLegs": [ { "dateText": "25 November 2019 – 19 July 2020", "endDate": "2020-07-19", "id": 13590, "startDate": "2019-11-25", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11206, "startDate": "2019-11-25", "title": "1973 Display", "type": "Collection based display" } ]	[no title]	1,970	Tate	1970s		CLEARED	8	object: 320 × 495 mm	accessioned work	Tate	Presented by Guy Brett and Alejandra Altamirano 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This work is one of a group of textile works in Tate’s collection by unknown Chilean female artists (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t14998\" title=\"View the details of this artwork\"><span>T14998</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15017\" title=\"View the details of this artwork\"><span>T15017</span></a>). Known as <i>arpilleras</i>, which literally means ‘burlap’ in Spanish, these historic patchworks represent a popular form of artistic expression and political resistance that emerged in Latin America in the twentieth century. They were created in the 1970s by women from Chile’s most economically underprivileged population. Generally the artists remained anonymous because of the political subject matter of their work. </p>\n<p>These arpilleras depict scenes of daily life in shantytowns during the military regime of General Augusto Pinochet, who held power from 1973 to 1990. Despite their brightly coloured compositions, arpilleras often comment with unvarnished candour on government repression and kidnappings, lack of employment and everyday struggles for survival. In some cases, the artists used the clothing of disappeared family members to construct their imagery. In addition to clothes, some artists included non-fabric materials to enliven the scene and further establish its relationship to lived reality. These works were produced in workshops organised by the Catholic Church and sold abroad to raise awareness of living conditions under the dictatorship, and to provide a source of income for the families of disappeared citizens, political prisoners and members of impoverished communities. A number of the arpilleras address a range of topical themes that include welfare, education, employment and city life, while others feature inspirational aphorisms such as ‘Never surrender or stray from the path’. Several of these textiles also include pockets with notes written by the artist that describe the scene or relay a message.</p>\n<p>Tate’s collection of twenty arpilleras was assembled by curator and writer Guy Brett and his wife Alejandra, whose father was a leader in President Salvador Allende’s government that was overthrown by Pinochet in 1973. The couple was deeply invested in finding ways to aid anti-authoritarian and humanitarian causes in Chile from abroad. They presented these arpilleras to Tate in 2018.</p>\n<p>A number of the arpilleras also include typewritten notes in English that come from when they were included in Guy Brett’s exhibition <i>We Want People to Know the Truth. Patchwork Pictures from Chile</i> (Third Eye Centre, Glasgow and touring, 1977), the first exhibition of arpilleras in Britain.</p>\n<p>Below is a description of each arpillera, identified by the descriptive summary provided by the Bretts. The titles are largely descriptive ones that have been assigned to the works for the purpose of identification, since few of the arpilleras would have been formally titled by their makers:</p>\n<p><span>T14998</span> [Personal Development Workshop] depicts one of the educational workshops that the Catholic Church ran for impoverished citizens. The one in question focuses on marital relationships, and shows many hands raising to contribute to the discussion of ‘What I expect from my partner’ and ‘What my partner expects from me’, as written up on the wall.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t14999\" title=\"View the details of this artwork\"><span>T14999</span></a> [The children and the mother are crying…] presents in the foreground a woman crying and preventing her drunk husband from entering their home. Inside the building, their children are awake and crying in response to the violence threatening their household.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15000\" title=\"View the details of this artwork\"><span>T15000</span></a> [<i>Sexualida</i> (Personal Development Workshop)] illustrates an educational workshop, focusing on sexuality (‘sexualidad’ in Spanish), a word that appears partially written on the blackboard portrayed in this arpillera. A note that accompanies the arpillera reads, in translation, ‘This patchwork represents our group when we received the theme of sexuality; for me it was a very hard moment because one never cares to address this issue and for me the moment when I discovered it was the most important one because I cried a lot when I realised that the most important fault in my marriage was sexual relationship. It is very relevant to learn about these issues because one learns to know one’s body and its parts by name.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15001\" title=\"View the details of this artwork\"><span>T15001</span></a> [Communal Meal] pictures a public canteen. A group of villagers sit at a large table waiting to be served their meal that is being heated. In the foreground, a line of women queue. They carry miniature plastic bags containing real grains of rice, lentils and dried pasta.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15002\" title=\"View the details of this artwork\"><span>T15002</span></a> [Working in the field] depicts a rural area close to the mountains. Several workers tend a field surrounded by fencing. A woman waters her garden. Children play outside their houses and transport water. One of the houses presents a door that can be opened by the viewer.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15003\" title=\"View the details of this artwork\"><span>T15003</span></a> [Neighbourhood] makes reference to the limited electricity provided to the shantytowns of Santiago. This arpillera presents many electric wires in front of the shanty buildings and three electrical poles marked with a red X, one of which is being climbed by a man with a ladder. Below him, another man stands by a car that reads ‘CHILECTR…’ which is likely the name of the privatised electrical company undertaking the works.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15004\" title=\"View the details of this artwork\"><span>T15004</span></a> [Rainy Street] illustrates a rainy landscape where a group of women strolls through an avenue that divides a wealthy part of the city – indicated by multi-storey buildings – and a shantytown village. In the middle of the avenue a street seller advertises his merchandise. The scene is covered by an intermittent white thread representing a heavy rain.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15005\" title=\"View the details of this artwork\"><span>T15005</span></a> [Nunca te entregues ni te apartes del camino] presents the revolutionary motto ‘Never surrender or stray from the path’. The arpillera illustrates this motto with a path leading to a shining sun followed by a group of five doves. On the back of this arpillera the sentence ‘No se vende’ (Not for sale) and the name Matta are written in black pen, indicating that the arpillera used to be owned by the Chilean painter Roberto Matta (1911–2002), who subsequently gave it to Guy Brett.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15006\" title=\"View the details of this artwork\"><span>T15006</span></a> [<i>Nosotros nos reunimos</i> (We get together)] portrays a community meeting being interrupted by police. The meeting takes place in a building labelled ‘Comite Hirma 2’ (Hirma Comittee 2) that features a sign outside that reads, ‘Hoy reunion sobre problemas de agua y luz’ (Meeting today about the water and electricity problems). In the scene two policemen are holding batons and standing in front of the door of the ‘Comite’ building.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15007\" title=\"View the details of this artwork\"><span>T15007</span></a> [Street scene] represents another shantytown scene. In the foreground a group of villagers queue to get water from a public water supplier and in the background women dry their clothes.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15008\" title=\"View the details of this artwork\"><span>T15008</span></a> [A supermarket that also had to close its doors] displays a textile shop and a food market, each with very little stock and a line of people queuing. A note with the arpillera reads, ‘This is a central street where people line up to shop and there are no sales’. The arpillera includes a typewritten note pinned to the top left side that reads, ‘A supermarket that also had to close its doors. They were selling very little and went bankrupt.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15009\" title=\"View the details of this artwork\"><span>T15009</span></a> [Attempt at perspective] presents an aerial view of a street with a central pathway surrounded by humble houses on both sides. A typewritten note in English reads, ‘A street scene – and an attempt at perspective.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15010\" title=\"View the details of this artwork\"><span>T15010</span></a> [<i>Taller de arpillera</i> (Arpillera Workshop)] is a depiction of an arpillera-making workshop, such as those organised by the Catholic Church. Women sit at a big table, arranging scraps of fabric. The title <i>Taller de arpillera</i> (Arpillera workshop) is stitched above the scene, with a mountain range view – characteristic of the Chilean landscape – in the background.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15011\" title=\"View the details of this artwork\"><span>T15011</span></a> [A Closed Factory] shows a group of people gathering outside three houses. The arpillera is accompanied by two notes: one handwritten note reads ‘industria cerrada’ (factory closed), and a note pinned to the top left side, typewritten in English, reads, ‘A closed factory. Men and women are left without work.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15012\" title=\"View the details of this artwork\"><span>T15012</span></a> [Three-storey houses] depicts a main road running diagonally from right to left. At both sides of the road, a three-storey house is depicted next to a humble one-storey shack. The arpillera has a note pinned to the top left side, typewritten in English that reads, ‘The three storey houses must denote those of well-to-do people. All the houses in the poblaciones are one storey only.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15013\" title=\"View the details of this artwork\"><span>T15013</span></a> [Female villager] differs from most of the arpilleras in this collection because of its portrait orientation and because it is made from burlap sack. It depicts the bustling life of the neighbourhood. A handwritten descriptive note pinned to the back reads, ‘2nd. Job of a female villager. Multiple workshops. Up, cat walking on the rooftop. Master working with ladder at hand. Female villagers with working sacks. The doors and windows of the different workshops open up with people behind them. Electricity posts and cables. Pallet truck to carry material.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15014\" title=\"View the details of this artwork\"><span>T15014</span></a> [Street scene] depicts a street scene but differs from most of the arpilleras in this collection because of its portrait orientation and by the fact that it appears to be signed by its maker, the name ‘Clara M.’ being embroidered name in the bottom right corner.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15015\" title=\"View the details of this artwork\"><span>T15015</span></a> [Canteen] shows three women fetching water while men head towards a canteen. The arpillera is accompanied by two notes: one handwritten note kept in a pocket on the back of the cloth reads, ‘Poblacion y cantina. Aduana’ (Village and Canteen. Customs); and a typewritten note written in English and pinned to the top left side of the front that reads, ‘In the majority of the “poblaciones” the women have to go and get water at a common faucet. There is no safe supply of drinking water.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15016\" title=\"View the details of this artwork\"><span>T15016</span></a> [The factory is closed] illustrates a group of workers standing outside a factory. The arpillera has a note pinned to the top left side, typewritten in English, that reads, ‘The factory is closed. Men are unemployed.’</p>\n<p><span>T15017</span> [The Doctors] shows a group of villagers, including an extremely thin woman, standing by a doorway. The arpillera is accompanied by a fragment of a handwritten note and a typed note pinned to the top left side, typewritten in English, that reads, ‘Two doctors go to visit the daughter of a woman suffering from an advanced state of malnutrition.’</p>\n<p>\n<b>Further reading</b>\n<br/>Guy Brett, <i>We Want People to Know the Truth. Patchwork Pictures from Chile</i>, exhibition catalogue, Third Eye, Glasgow and touring 1977.<br/>Guy Brett, <i>Through Our Own Eyes: Popular Art and Modern History</i>, London 1986.<br/>Marjorie Agosin, <i>Scraps of Life: Chilean Arpilleras, Chilean Women and the Pinochet Dictatorship</i>, Toronto 1987.</p>\n<p>Michael Wellen, Fiontán Moran, Alice Ongaro and Sol Polo<br/>January 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-12-01T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Cotton, wool, textiles and wood on cotton and ink on paper	[ { "append_role_to_name": false, "date": "", "fc": "Unknown woman artist, Chile", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/unknown-woman-artist-chile-27644" } ]	120,721	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 256314, "shortTitle": "Arpilleras: group of 20 patchwork pictures from Chile" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,970	Unknown woman artist, Chile		2,018		[]	Presented by Guy Brett and Alejandra Altamirano 2018	T15006	{ "id": 8, "meta": { "type": "art.Classification" } }			1000049 1000002	Unknown woman artist, Chile	1,970	[]	<p>This work is one of a group of textile works in Tate’s collection by unknown Chilean female artists (Tate T14998–T15017). Known as <span>arpilleras</span>, which literally means ‘burlap’ in Spanish, these historic patchworks represent a popular form of artistic expression and political resistance that emerged in Latin America in the twentieth century. They were created in the 1970s by women from Chile’s most economically underprivileged population. Generally the artists remained anonymous because of the political subject matter of their work.</p>	false	1	https://media.tate.org.u…T15/T15006_9.jpg	27644	sculpture cotton wool textiles wood ink paper	[ { "artistRoomsTour": false, "dateText": "25 November 2019 – 19 July 2020", "endDate": "2020-07-19", "exhibitionLegs": [ { "dateText": "25 November 2019 – 19 July 2020", "endDate": "2020-07-19", "id": 13590, "startDate": "2019-11-25", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11206, "startDate": "2019-11-25", "title": "1973 Display", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "23 February 2022 – 5 June 2022", "endDate": "2022-06-05", "exhibitionLegs": [ { "dateText": "23 February 2022 – 5 June 2022", "endDate": "2022-06-05", "id": 14263, "startDate": "2022-02-23", "venueName": "Whitechapel Gallery (London, UK)", "venueWebsiteUrl": "http://www.whitechapel.org/" } ], "id": 11770, "startDate": "2022-02-23", "title": "A Century of the The Artist's Studio 1920-2020", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "13 February 2024 – 5 January 2025", "endDate": "2025-01-05", "exhibitionLegs": [ { "dateText": "13 February 2024 – 26 May 2024", "endDate": "2024-05-26", "id": 15607, "startDate": "2024-02-13", "venueName": "Barbican Art Gallery (London, UK)", "venueWebsiteUrl": null }, { "dateText": "14 September 2024 – 5 January 2025", "endDate": "2025-01-05", "id": 15608, "startDate": "2024-09-14", "venueName": "Stedelijk Museum (Amsterdam, Netherlands)", "venueWebsiteUrl": null } ], "id": 12806, "startDate": "2024-02-13", "title": "Unravel: Textile Art from the 1960s to Now", "type": "Loan-out" } ]	[no title]	1,970	Tate	1970s		CLEARED	8	object: 320 × 495 mm	accessioned work	Tate	Presented by Guy Brett and Alejandra Altamirano 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This work is one of a group of textile works in Tate’s collection by unknown Chilean female artists (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t14998\" title=\"View the details of this artwork\"><span>T14998</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15017\" title=\"View the details of this artwork\"><span>T15017</span></a>). Known as <i>arpilleras</i>, which literally means ‘burlap’ in Spanish, these historic patchworks represent a popular form of artistic expression and political resistance that emerged in Latin America in the twentieth century. They were created in the 1970s by women from Chile’s most economically underprivileged population. Generally the artists remained anonymous because of the political subject matter of their work. </p>\n<p>These arpilleras depict scenes of daily life in shantytowns during the military regime of General Augusto Pinochet, who held power from 1973 to 1990. Despite their brightly coloured compositions, arpilleras often comment with unvarnished candour on government repression and kidnappings, lack of employment and everyday struggles for survival. In some cases, the artists used the clothing of disappeared family members to construct their imagery. In addition to clothes, some artists included non-fabric materials to enliven the scene and further establish its relationship to lived reality. These works were produced in workshops organised by the Catholic Church and sold abroad to raise awareness of living conditions under the dictatorship, and to provide a source of income for the families of disappeared citizens, political prisoners and members of impoverished communities. A number of the arpilleras address a range of topical themes that include welfare, education, employment and city life, while others feature inspirational aphorisms such as ‘Never surrender or stray from the path’. Several of these textiles also include pockets with notes written by the artist that describe the scene or relay a message.</p>\n<p>Tate’s collection of twenty arpilleras was assembled by curator and writer Guy Brett and his wife Alejandra, whose father was a leader in President Salvador Allende’s government that was overthrown by Pinochet in 1973. The couple was deeply invested in finding ways to aid anti-authoritarian and humanitarian causes in Chile from abroad. They presented these arpilleras to Tate in 2018.</p>\n<p>A number of the arpilleras also include typewritten notes in English that come from when they were included in Guy Brett’s exhibition <i>We Want People to Know the Truth. Patchwork Pictures from Chile</i> (Third Eye Centre, Glasgow and touring, 1977), the first exhibition of arpilleras in Britain.</p>\n<p>Below is a description of each arpillera, identified by the descriptive summary provided by the Bretts. The titles are largely descriptive ones that have been assigned to the works for the purpose of identification, since few of the arpilleras would have been formally titled by their makers:</p>\n<p><span>T14998</span> [Personal Development Workshop] depicts one of the educational workshops that the Catholic Church ran for impoverished citizens. The one in question focuses on marital relationships, and shows many hands raising to contribute to the discussion of ‘What I expect from my partner’ and ‘What my partner expects from me’, as written up on the wall.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t14999\" title=\"View the details of this artwork\"><span>T14999</span></a> [The children and the mother are crying…] presents in the foreground a woman crying and preventing her drunk husband from entering their home. Inside the building, their children are awake and crying in response to the violence threatening their household.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15000\" title=\"View the details of this artwork\"><span>T15000</span></a> [<i>Sexualida</i> (Personal Development Workshop)] illustrates an educational workshop, focusing on sexuality (‘sexualidad’ in Spanish), a word that appears partially written on the blackboard portrayed in this arpillera. A note that accompanies the arpillera reads, in translation, ‘This patchwork represents our group when we received the theme of sexuality; for me it was a very hard moment because one never cares to address this issue and for me the moment when I discovered it was the most important one because I cried a lot when I realised that the most important fault in my marriage was sexual relationship. It is very relevant to learn about these issues because one learns to know one’s body and its parts by name.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15001\" title=\"View the details of this artwork\"><span>T15001</span></a> [Communal Meal] pictures a public canteen. A group of villagers sit at a large table waiting to be served their meal that is being heated. In the foreground, a line of women queue. They carry miniature plastic bags containing real grains of rice, lentils and dried pasta.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15002\" title=\"View the details of this artwork\"><span>T15002</span></a> [Working in the field] depicts a rural area close to the mountains. Several workers tend a field surrounded by fencing. A woman waters her garden. Children play outside their houses and transport water. One of the houses presents a door that can be opened by the viewer.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15003\" title=\"View the details of this artwork\"><span>T15003</span></a> [Neighbourhood] makes reference to the limited electricity provided to the shantytowns of Santiago. This arpillera presents many electric wires in front of the shanty buildings and three electrical poles marked with a red X, one of which is being climbed by a man with a ladder. Below him, another man stands by a car that reads ‘CHILECTR…’ which is likely the name of the privatised electrical company undertaking the works.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15004\" title=\"View the details of this artwork\"><span>T15004</span></a> [Rainy Street] illustrates a rainy landscape where a group of women strolls through an avenue that divides a wealthy part of the city – indicated by multi-storey buildings – and a shantytown village. In the middle of the avenue a street seller advertises his merchandise. The scene is covered by an intermittent white thread representing a heavy rain.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15005\" title=\"View the details of this artwork\"><span>T15005</span></a> [Nunca te entregues ni te apartes del camino] presents the revolutionary motto ‘Never surrender or stray from the path’. The arpillera illustrates this motto with a path leading to a shining sun followed by a group of five doves. On the back of this arpillera the sentence ‘No se vende’ (Not for sale) and the name Matta are written in black pen, indicating that the arpillera used to be owned by the Chilean painter Roberto Matta (1911–2002), who subsequently gave it to Guy Brett.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15006\" title=\"View the details of this artwork\"><span>T15006</span></a> [<i>Nosotros nos reunimos</i> (We get together)] portrays a community meeting being interrupted by police. The meeting takes place in a building labelled ‘Comite Hirma 2’ (Hirma Comittee 2) that features a sign outside that reads, ‘Hoy reunion sobre problemas de agua y luz’ (Meeting today about the water and electricity problems). In the scene two policemen are holding batons and standing in front of the door of the ‘Comite’ building.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15007\" title=\"View the details of this artwork\"><span>T15007</span></a> [Street scene] represents another shantytown scene. In the foreground a group of villagers queue to get water from a public water supplier and in the background women dry their clothes.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15008\" title=\"View the details of this artwork\"><span>T15008</span></a> [A supermarket that also had to close its doors] displays a textile shop and a food market, each with very little stock and a line of people queuing. A note with the arpillera reads, ‘This is a central street where people line up to shop and there are no sales’. The arpillera includes a typewritten note pinned to the top left side that reads, ‘A supermarket that also had to close its doors. They were selling very little and went bankrupt.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15009\" title=\"View the details of this artwork\"><span>T15009</span></a> [Attempt at perspective] presents an aerial view of a street with a central pathway surrounded by humble houses on both sides. A typewritten note in English reads, ‘A street scene – and an attempt at perspective.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15010\" title=\"View the details of this artwork\"><span>T15010</span></a> [<i>Taller de arpillera</i> (Arpillera Workshop)] is a depiction of an arpillera-making workshop, such as those organised by the Catholic Church. Women sit at a big table, arranging scraps of fabric. The title <i>Taller de arpillera</i> (Arpillera workshop) is stitched above the scene, with a mountain range view – characteristic of the Chilean landscape – in the background.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15011\" title=\"View the details of this artwork\"><span>T15011</span></a> [A Closed Factory] shows a group of people gathering outside three houses. The arpillera is accompanied by two notes: one handwritten note reads ‘industria cerrada’ (factory closed), and a note pinned to the top left side, typewritten in English, reads, ‘A closed factory. Men and women are left without work.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15012\" title=\"View the details of this artwork\"><span>T15012</span></a> [Three-storey houses] depicts a main road running diagonally from right to left. At both sides of the road, a three-storey house is depicted next to a humble one-storey shack. The arpillera has a note pinned to the top left side, typewritten in English that reads, ‘The three storey houses must denote those of well-to-do people. All the houses in the poblaciones are one storey only.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15013\" title=\"View the details of this artwork\"><span>T15013</span></a> [Female villager] differs from most of the arpilleras in this collection because of its portrait orientation and because it is made from burlap sack. It depicts the bustling life of the neighbourhood. A handwritten descriptive note pinned to the back reads, ‘2nd. Job of a female villager. Multiple workshops. Up, cat walking on the rooftop. Master working with ladder at hand. Female villagers with working sacks. The doors and windows of the different workshops open up with people behind them. Electricity posts and cables. Pallet truck to carry material.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15014\" title=\"View the details of this artwork\"><span>T15014</span></a> [Street scene] depicts a street scene but differs from most of the arpilleras in this collection because of its portrait orientation and by the fact that it appears to be signed by its maker, the name ‘Clara M.’ being embroidered name in the bottom right corner.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15015\" title=\"View the details of this artwork\"><span>T15015</span></a> [Canteen] shows three women fetching water while men head towards a canteen. The arpillera is accompanied by two notes: one handwritten note kept in a pocket on the back of the cloth reads, ‘Poblacion y cantina. Aduana’ (Village and Canteen. Customs); and a typewritten note written in English and pinned to the top left side of the front that reads, ‘In the majority of the “poblaciones” the women have to go and get water at a common faucet. There is no safe supply of drinking water.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15016\" title=\"View the details of this artwork\"><span>T15016</span></a> [The factory is closed] illustrates a group of workers standing outside a factory. The arpillera has a note pinned to the top left side, typewritten in English, that reads, ‘The factory is closed. Men are unemployed.’</p>\n<p><span>T15017</span> [The Doctors] shows a group of villagers, including an extremely thin woman, standing by a doorway. The arpillera is accompanied by a fragment of a handwritten note and a typed note pinned to the top left side, typewritten in English, that reads, ‘Two doctors go to visit the daughter of a woman suffering from an advanced state of malnutrition.’</p>\n<p>\n<b>Further reading</b>\n<br/>Guy Brett, <i>We Want People to Know the Truth. Patchwork Pictures from Chile</i>, exhibition catalogue, Third Eye, Glasgow and touring 1977.<br/>Guy Brett, <i>Through Our Own Eyes: Popular Art and Modern History</i>, London 1986.<br/>Marjorie Agosin, <i>Scraps of Life: Chilean Arpilleras, Chilean Women and the Pinochet Dictatorship</i>, Toronto 1987.</p>\n<p>Michael Wellen, Fiontán Moran, Alice Ongaro and Sol Polo<br/>January 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-12-01T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Cotton, felt, wool and textiles on cotton	[ { "append_role_to_name": false, "date": "", "fc": "Unknown woman artist, Chile", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/unknown-woman-artist-chile-27644" } ]	120,722	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 256314, "shortTitle": "Arpilleras: group of 20 patchwork pictures from Chile" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,970	Unknown woman artist, Chile		2,018		[]	Presented by Guy Brett and Alejandra Altamirano 2018	T15007	{ "id": 8, "meta": { "type": "art.Classification" } }			1000049 1000002	Unknown woman artist, Chile	1,970	[]	<p>This work is one of a group of textile works in Tate’s collection by unknown Chilean female artists (Tate T14998–T15017). Known as <span>arpilleras</span>, which literally means ‘burlap’ in Spanish, these historic patchworks represent a popular form of artistic expression and political resistance that emerged in Latin America in the twentieth century. They were created in the 1970s by women from Chile’s most economically underprivileged population. Generally the artists remained anonymous because of the political subject matter of their work.</p>	false	1	https://media.tate.org.u…15/T15007_10.jpg	27644	sculpture cotton felt wool textiles	[]	[no title]	1,970	Tate	1970s		CLEARED	8	object: 350 × 500 mm	accessioned work	Tate	Presented by Guy Brett and Alejandra Altamirano 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This work is one of a group of textile works in Tate’s collection by unknown Chilean female artists (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t14998\" title=\"View the details of this artwork\"><span>T14998</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15017\" title=\"View the details of this artwork\"><span>T15017</span></a>). Known as <i>arpilleras</i>, which literally means ‘burlap’ in Spanish, these historic patchworks represent a popular form of artistic expression and political resistance that emerged in Latin America in the twentieth century. They were created in the 1970s by women from Chile’s most economically underprivileged population. Generally the artists remained anonymous because of the political subject matter of their work. </p>\n<p>These arpilleras depict scenes of daily life in shantytowns during the military regime of General Augusto Pinochet, who held power from 1973 to 1990. Despite their brightly coloured compositions, arpilleras often comment with unvarnished candour on government repression and kidnappings, lack of employment and everyday struggles for survival. In some cases, the artists used the clothing of disappeared family members to construct their imagery. In addition to clothes, some artists included non-fabric materials to enliven the scene and further establish its relationship to lived reality. These works were produced in workshops organised by the Catholic Church and sold abroad to raise awareness of living conditions under the dictatorship, and to provide a source of income for the families of disappeared citizens, political prisoners and members of impoverished communities. A number of the arpilleras address a range of topical themes that include welfare, education, employment and city life, while others feature inspirational aphorisms such as ‘Never surrender or stray from the path’. Several of these textiles also include pockets with notes written by the artist that describe the scene or relay a message.</p>\n<p>Tate’s collection of twenty arpilleras was assembled by curator and writer Guy Brett and his wife Alejandra, whose father was a leader in President Salvador Allende’s government that was overthrown by Pinochet in 1973. The couple was deeply invested in finding ways to aid anti-authoritarian and humanitarian causes in Chile from abroad. They presented these arpilleras to Tate in 2018.</p>\n<p>A number of the arpilleras also include typewritten notes in English that come from when they were included in Guy Brett’s exhibition <i>We Want People to Know the Truth. Patchwork Pictures from Chile</i> (Third Eye Centre, Glasgow and touring, 1977), the first exhibition of arpilleras in Britain.</p>\n<p>Below is a description of each arpillera, identified by the descriptive summary provided by the Bretts. The titles are largely descriptive ones that have been assigned to the works for the purpose of identification, since few of the arpilleras would have been formally titled by their makers:</p>\n<p><span>T14998</span> [Personal Development Workshop] depicts one of the educational workshops that the Catholic Church ran for impoverished citizens. The one in question focuses on marital relationships, and shows many hands raising to contribute to the discussion of ‘What I expect from my partner’ and ‘What my partner expects from me’, as written up on the wall.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t14999\" title=\"View the details of this artwork\"><span>T14999</span></a> [The children and the mother are crying…] presents in the foreground a woman crying and preventing her drunk husband from entering their home. Inside the building, their children are awake and crying in response to the violence threatening their household.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15000\" title=\"View the details of this artwork\"><span>T15000</span></a> [<i>Sexualida</i> (Personal Development Workshop)] illustrates an educational workshop, focusing on sexuality (‘sexualidad’ in Spanish), a word that appears partially written on the blackboard portrayed in this arpillera. A note that accompanies the arpillera reads, in translation, ‘This patchwork represents our group when we received the theme of sexuality; for me it was a very hard moment because one never cares to address this issue and for me the moment when I discovered it was the most important one because I cried a lot when I realised that the most important fault in my marriage was sexual relationship. It is very relevant to learn about these issues because one learns to know one’s body and its parts by name.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15001\" title=\"View the details of this artwork\"><span>T15001</span></a> [Communal Meal] pictures a public canteen. A group of villagers sit at a large table waiting to be served their meal that is being heated. In the foreground, a line of women queue. They carry miniature plastic bags containing real grains of rice, lentils and dried pasta.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15002\" title=\"View the details of this artwork\"><span>T15002</span></a> [Working in the field] depicts a rural area close to the mountains. Several workers tend a field surrounded by fencing. A woman waters her garden. Children play outside their houses and transport water. One of the houses presents a door that can be opened by the viewer.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15003\" title=\"View the details of this artwork\"><span>T15003</span></a> [Neighbourhood] makes reference to the limited electricity provided to the shantytowns of Santiago. This arpillera presents many electric wires in front of the shanty buildings and three electrical poles marked with a red X, one of which is being climbed by a man with a ladder. Below him, another man stands by a car that reads ‘CHILECTR…’ which is likely the name of the privatised electrical company undertaking the works.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15004\" title=\"View the details of this artwork\"><span>T15004</span></a> [Rainy Street] illustrates a rainy landscape where a group of women strolls through an avenue that divides a wealthy part of the city – indicated by multi-storey buildings – and a shantytown village. In the middle of the avenue a street seller advertises his merchandise. The scene is covered by an intermittent white thread representing a heavy rain.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15005\" title=\"View the details of this artwork\"><span>T15005</span></a> [Nunca te entregues ni te apartes del camino] presents the revolutionary motto ‘Never surrender or stray from the path’. The arpillera illustrates this motto with a path leading to a shining sun followed by a group of five doves. On the back of this arpillera the sentence ‘No se vende’ (Not for sale) and the name Matta are written in black pen, indicating that the arpillera used to be owned by the Chilean painter Roberto Matta (1911–2002), who subsequently gave it to Guy Brett.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15006\" title=\"View the details of this artwork\"><span>T15006</span></a> [<i>Nosotros nos reunimos</i> (We get together)] portrays a community meeting being interrupted by police. The meeting takes place in a building labelled ‘Comite Hirma 2’ (Hirma Comittee 2) that features a sign outside that reads, ‘Hoy reunion sobre problemas de agua y luz’ (Meeting today about the water and electricity problems). In the scene two policemen are holding batons and standing in front of the door of the ‘Comite’ building.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15007\" title=\"View the details of this artwork\"><span>T15007</span></a> [Street scene] represents another shantytown scene. In the foreground a group of villagers queue to get water from a public water supplier and in the background women dry their clothes.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15008\" title=\"View the details of this artwork\"><span>T15008</span></a> [A supermarket that also had to close its doors] displays a textile shop and a food market, each with very little stock and a line of people queuing. A note with the arpillera reads, ‘This is a central street where people line up to shop and there are no sales’. The arpillera includes a typewritten note pinned to the top left side that reads, ‘A supermarket that also had to close its doors. They were selling very little and went bankrupt.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15009\" title=\"View the details of this artwork\"><span>T15009</span></a> [Attempt at perspective] presents an aerial view of a street with a central pathway surrounded by humble houses on both sides. A typewritten note in English reads, ‘A street scene – and an attempt at perspective.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15010\" title=\"View the details of this artwork\"><span>T15010</span></a> [<i>Taller de arpillera</i> (Arpillera Workshop)] is a depiction of an arpillera-making workshop, such as those organised by the Catholic Church. Women sit at a big table, arranging scraps of fabric. The title <i>Taller de arpillera</i> (Arpillera workshop) is stitched above the scene, with a mountain range view – characteristic of the Chilean landscape – in the background.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15011\" title=\"View the details of this artwork\"><span>T15011</span></a> [A Closed Factory] shows a group of people gathering outside three houses. The arpillera is accompanied by two notes: one handwritten note reads ‘industria cerrada’ (factory closed), and a note pinned to the top left side, typewritten in English, reads, ‘A closed factory. Men and women are left without work.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15012\" title=\"View the details of this artwork\"><span>T15012</span></a> [Three-storey houses] depicts a main road running diagonally from right to left. At both sides of the road, a three-storey house is depicted next to a humble one-storey shack. The arpillera has a note pinned to the top left side, typewritten in English that reads, ‘The three storey houses must denote those of well-to-do people. All the houses in the poblaciones are one storey only.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15013\" title=\"View the details of this artwork\"><span>T15013</span></a> [Female villager] differs from most of the arpilleras in this collection because of its portrait orientation and because it is made from burlap sack. It depicts the bustling life of the neighbourhood. A handwritten descriptive note pinned to the back reads, ‘2nd. Job of a female villager. Multiple workshops. Up, cat walking on the rooftop. Master working with ladder at hand. Female villagers with working sacks. The doors and windows of the different workshops open up with people behind them. Electricity posts and cables. Pallet truck to carry material.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15014\" title=\"View the details of this artwork\"><span>T15014</span></a> [Street scene] depicts a street scene but differs from most of the arpilleras in this collection because of its portrait orientation and by the fact that it appears to be signed by its maker, the name ‘Clara M.’ being embroidered name in the bottom right corner.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15015\" title=\"View the details of this artwork\"><span>T15015</span></a> [Canteen] shows three women fetching water while men head towards a canteen. The arpillera is accompanied by two notes: one handwritten note kept in a pocket on the back of the cloth reads, ‘Poblacion y cantina. Aduana’ (Village and Canteen. Customs); and a typewritten note written in English and pinned to the top left side of the front that reads, ‘In the majority of the “poblaciones” the women have to go and get water at a common faucet. There is no safe supply of drinking water.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15016\" title=\"View the details of this artwork\"><span>T15016</span></a> [The factory is closed] illustrates a group of workers standing outside a factory. The arpillera has a note pinned to the top left side, typewritten in English, that reads, ‘The factory is closed. Men are unemployed.’</p>\n<p><span>T15017</span> [The Doctors] shows a group of villagers, including an extremely thin woman, standing by a doorway. The arpillera is accompanied by a fragment of a handwritten note and a typed note pinned to the top left side, typewritten in English, that reads, ‘Two doctors go to visit the daughter of a woman suffering from an advanced state of malnutrition.’</p>\n<p>\n<b>Further reading</b>\n<br/>Guy Brett, <i>We Want People to Know the Truth. Patchwork Pictures from Chile</i>, exhibition catalogue, Third Eye, Glasgow and touring 1977.<br/>Guy Brett, <i>Through Our Own Eyes: Popular Art and Modern History</i>, London 1986.<br/>Marjorie Agosin, <i>Scraps of Life: Chilean Arpilleras, Chilean Women and the Pinochet Dictatorship</i>, Toronto 1987.</p>\n<p>Michael Wellen, Fiontán Moran, Alice Ongaro and Sol Polo<br/>January 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-12-01T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Cotton and wool on cotton, ink on paper and needle	[ { "append_role_to_name": false, "date": "", "fc": "Unknown woman artist, Chile", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/unknown-woman-artist-chile-27644" } ]	120,723	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 256314, "shortTitle": "Arpilleras: group of 20 patchwork pictures from Chile" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,970	Unknown woman artist, Chile		2,018		[]	Presented by Guy Brett and Alejandra Altamirano 2018	T15008	{ "id": 8, "meta": { "type": "art.Classification" } }			1000049 1000002	Unknown woman artist, Chile	1,970	[]	<p>This work is one of a group of textile works in Tate’s collection by unknown Chilean female artists (Tate T14998–T15017). Known as <span>arpilleras</span>, which literally means ‘burlap’ in Spanish, these historic patchworks represent a popular form of artistic expression and political resistance that emerged in Latin America in the twentieth century. They were created in the 1970s by women from Chile’s most economically underprivileged population. Generally the artists remained anonymous because of the political subject matter of their work.</p>	false	1	https://media.tate.org.u…15/T15008_10.jpg	27644	sculpture cotton wool ink paper needle	[]	[no title]	1,970	Tate	1970s		CLEARED	8	object: 350 × 510 mm	accessioned work	Tate	Presented by Guy Brett and Alejandra Altamirano 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This work is one of a group of textile works in Tate’s collection by unknown Chilean female artists (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t14998\" title=\"View the details of this artwork\"><span>T14998</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15017\" title=\"View the details of this artwork\"><span>T15017</span></a>). Known as <i>arpilleras</i>, which literally means ‘burlap’ in Spanish, these historic patchworks represent a popular form of artistic expression and political resistance that emerged in Latin America in the twentieth century. They were created in the 1970s by women from Chile’s most economically underprivileged population. Generally the artists remained anonymous because of the political subject matter of their work. </p>\n<p>These arpilleras depict scenes of daily life in shantytowns during the military regime of General Augusto Pinochet, who held power from 1973 to 1990. Despite their brightly coloured compositions, arpilleras often comment with unvarnished candour on government repression and kidnappings, lack of employment and everyday struggles for survival. In some cases, the artists used the clothing of disappeared family members to construct their imagery. In addition to clothes, some artists included non-fabric materials to enliven the scene and further establish its relationship to lived reality. These works were produced in workshops organised by the Catholic Church and sold abroad to raise awareness of living conditions under the dictatorship, and to provide a source of income for the families of disappeared citizens, political prisoners and members of impoverished communities. A number of the arpilleras address a range of topical themes that include welfare, education, employment and city life, while others feature inspirational aphorisms such as ‘Never surrender or stray from the path’. Several of these textiles also include pockets with notes written by the artist that describe the scene or relay a message.</p>\n<p>Tate’s collection of twenty arpilleras was assembled by curator and writer Guy Brett and his wife Alejandra, whose father was a leader in President Salvador Allende’s government that was overthrown by Pinochet in 1973. The couple was deeply invested in finding ways to aid anti-authoritarian and humanitarian causes in Chile from abroad. They presented these arpilleras to Tate in 2018.</p>\n<p>A number of the arpilleras also include typewritten notes in English that come from when they were included in Guy Brett’s exhibition <i>We Want People to Know the Truth. Patchwork Pictures from Chile</i> (Third Eye Centre, Glasgow and touring, 1977), the first exhibition of arpilleras in Britain.</p>\n<p>Below is a description of each arpillera, identified by the descriptive summary provided by the Bretts. The titles are largely descriptive ones that have been assigned to the works for the purpose of identification, since few of the arpilleras would have been formally titled by their makers:</p>\n<p><span>T14998</span> [Personal Development Workshop] depicts one of the educational workshops that the Catholic Church ran for impoverished citizens. The one in question focuses on marital relationships, and shows many hands raising to contribute to the discussion of ‘What I expect from my partner’ and ‘What my partner expects from me’, as written up on the wall.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t14999\" title=\"View the details of this artwork\"><span>T14999</span></a> [The children and the mother are crying…] presents in the foreground a woman crying and preventing her drunk husband from entering their home. Inside the building, their children are awake and crying in response to the violence threatening their household.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15000\" title=\"View the details of this artwork\"><span>T15000</span></a> [<i>Sexualida</i> (Personal Development Workshop)] illustrates an educational workshop, focusing on sexuality (‘sexualidad’ in Spanish), a word that appears partially written on the blackboard portrayed in this arpillera. A note that accompanies the arpillera reads, in translation, ‘This patchwork represents our group when we received the theme of sexuality; for me it was a very hard moment because one never cares to address this issue and for me the moment when I discovered it was the most important one because I cried a lot when I realised that the most important fault in my marriage was sexual relationship. It is very relevant to learn about these issues because one learns to know one’s body and its parts by name.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15001\" title=\"View the details of this artwork\"><span>T15001</span></a> [Communal Meal] pictures a public canteen. A group of villagers sit at a large table waiting to be served their meal that is being heated. In the foreground, a line of women queue. They carry miniature plastic bags containing real grains of rice, lentils and dried pasta.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15002\" title=\"View the details of this artwork\"><span>T15002</span></a> [Working in the field] depicts a rural area close to the mountains. Several workers tend a field surrounded by fencing. A woman waters her garden. Children play outside their houses and transport water. One of the houses presents a door that can be opened by the viewer.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15003\" title=\"View the details of this artwork\"><span>T15003</span></a> [Neighbourhood] makes reference to the limited electricity provided to the shantytowns of Santiago. This arpillera presents many electric wires in front of the shanty buildings and three electrical poles marked with a red X, one of which is being climbed by a man with a ladder. Below him, another man stands by a car that reads ‘CHILECTR…’ which is likely the name of the privatised electrical company undertaking the works.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15004\" title=\"View the details of this artwork\"><span>T15004</span></a> [Rainy Street] illustrates a rainy landscape where a group of women strolls through an avenue that divides a wealthy part of the city – indicated by multi-storey buildings – and a shantytown village. In the middle of the avenue a street seller advertises his merchandise. The scene is covered by an intermittent white thread representing a heavy rain.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15005\" title=\"View the details of this artwork\"><span>T15005</span></a> [Nunca te entregues ni te apartes del camino] presents the revolutionary motto ‘Never surrender or stray from the path’. The arpillera illustrates this motto with a path leading to a shining sun followed by a group of five doves. On the back of this arpillera the sentence ‘No se vende’ (Not for sale) and the name Matta are written in black pen, indicating that the arpillera used to be owned by the Chilean painter Roberto Matta (1911–2002), who subsequently gave it to Guy Brett.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15006\" title=\"View the details of this artwork\"><span>T15006</span></a> [<i>Nosotros nos reunimos</i> (We get together)] portrays a community meeting being interrupted by police. The meeting takes place in a building labelled ‘Comite Hirma 2’ (Hirma Comittee 2) that features a sign outside that reads, ‘Hoy reunion sobre problemas de agua y luz’ (Meeting today about the water and electricity problems). In the scene two policemen are holding batons and standing in front of the door of the ‘Comite’ building.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15007\" title=\"View the details of this artwork\"><span>T15007</span></a> [Street scene] represents another shantytown scene. In the foreground a group of villagers queue to get water from a public water supplier and in the background women dry their clothes.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15008\" title=\"View the details of this artwork\"><span>T15008</span></a> [A supermarket that also had to close its doors] displays a textile shop and a food market, each with very little stock and a line of people queuing. A note with the arpillera reads, ‘This is a central street where people line up to shop and there are no sales’. The arpillera includes a typewritten note pinned to the top left side that reads, ‘A supermarket that also had to close its doors. They were selling very little and went bankrupt.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15009\" title=\"View the details of this artwork\"><span>T15009</span></a> [Attempt at perspective] presents an aerial view of a street with a central pathway surrounded by humble houses on both sides. A typewritten note in English reads, ‘A street scene – and an attempt at perspective.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15010\" title=\"View the details of this artwork\"><span>T15010</span></a> [<i>Taller de arpillera</i> (Arpillera Workshop)] is a depiction of an arpillera-making workshop, such as those organised by the Catholic Church. Women sit at a big table, arranging scraps of fabric. The title <i>Taller de arpillera</i> (Arpillera workshop) is stitched above the scene, with a mountain range view – characteristic of the Chilean landscape – in the background.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15011\" title=\"View the details of this artwork\"><span>T15011</span></a> [A Closed Factory] shows a group of people gathering outside three houses. The arpillera is accompanied by two notes: one handwritten note reads ‘industria cerrada’ (factory closed), and a note pinned to the top left side, typewritten in English, reads, ‘A closed factory. Men and women are left without work.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15012\" title=\"View the details of this artwork\"><span>T15012</span></a> [Three-storey houses] depicts a main road running diagonally from right to left. At both sides of the road, a three-storey house is depicted next to a humble one-storey shack. The arpillera has a note pinned to the top left side, typewritten in English that reads, ‘The three storey houses must denote those of well-to-do people. All the houses in the poblaciones are one storey only.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15013\" title=\"View the details of this artwork\"><span>T15013</span></a> [Female villager] differs from most of the arpilleras in this collection because of its portrait orientation and because it is made from burlap sack. It depicts the bustling life of the neighbourhood. A handwritten descriptive note pinned to the back reads, ‘2nd. Job of a female villager. Multiple workshops. Up, cat walking on the rooftop. Master working with ladder at hand. Female villagers with working sacks. The doors and windows of the different workshops open up with people behind them. Electricity posts and cables. Pallet truck to carry material.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15014\" title=\"View the details of this artwork\"><span>T15014</span></a> [Street scene] depicts a street scene but differs from most of the arpilleras in this collection because of its portrait orientation and by the fact that it appears to be signed by its maker, the name ‘Clara M.’ being embroidered name in the bottom right corner.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15015\" title=\"View the details of this artwork\"><span>T15015</span></a> [Canteen] shows three women fetching water while men head towards a canteen. The arpillera is accompanied by two notes: one handwritten note kept in a pocket on the back of the cloth reads, ‘Poblacion y cantina. Aduana’ (Village and Canteen. Customs); and a typewritten note written in English and pinned to the top left side of the front that reads, ‘In the majority of the “poblaciones” the women have to go and get water at a common faucet. There is no safe supply of drinking water.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15016\" title=\"View the details of this artwork\"><span>T15016</span></a> [The factory is closed] illustrates a group of workers standing outside a factory. The arpillera has a note pinned to the top left side, typewritten in English, that reads, ‘The factory is closed. Men are unemployed.’</p>\n<p><span>T15017</span> [The Doctors] shows a group of villagers, including an extremely thin woman, standing by a doorway. The arpillera is accompanied by a fragment of a handwritten note and a typed note pinned to the top left side, typewritten in English, that reads, ‘Two doctors go to visit the daughter of a woman suffering from an advanced state of malnutrition.’</p>\n<p>\n<b>Further reading</b>\n<br/>Guy Brett, <i>We Want People to Know the Truth. Patchwork Pictures from Chile</i>, exhibition catalogue, Third Eye, Glasgow and touring 1977.<br/>Guy Brett, <i>Through Our Own Eyes: Popular Art and Modern History</i>, London 1986.<br/>Marjorie Agosin, <i>Scraps of Life: Chilean Arpilleras, Chilean Women and the Pinochet Dictatorship</i>, Toronto 1987.</p>\n<p>Michael Wellen, Fiontán Moran, Alice Ongaro and Sol Polo<br/>January 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-12-01T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Cotton and wool on cotton, ink on paper and needle	[ { "append_role_to_name": false, "date": "", "fc": "Unknown woman artist, Chile", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/unknown-woman-artist-chile-27644" } ]	120,728	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 256314, "shortTitle": "Arpilleras: group of 20 patchwork pictures from Chile" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,970	Unknown woman artist, Chile		2,018		[]	Presented by Guy Brett and Alejandra Altamirano 2018	T15009	{ "id": 8, "meta": { "type": "art.Classification" } }			1000049 1000002	Unknown woman artist, Chile	1,970	[]	<p>This work is one of a group of textile works in Tate’s collection by unknown Chilean female artists (Tate T14998–T15017). Known as <span>arpilleras</span>, which literally means ‘burlap’ in Spanish, these historic patchworks represent a popular form of artistic expression and political resistance that emerged in Latin America in the twentieth century. They were created in the 1970s by women from Chile’s most economically underprivileged population. Generally the artists remained anonymous because of the political subject matter of their work.</p>	false	1	https://media.tate.org.u…15/T15009_10.jpg	27644	sculpture cotton wool ink paper needle	[]	[no title]	1,970	Tate	1970s		CLEARED	8	object: 350 × 500 mm	accessioned work	Tate	Presented by Guy Brett and Alejandra Altamirano 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This work is one of a group of textile works in Tate’s collection by unknown Chilean female artists (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t14998\" title=\"View the details of this artwork\"><span>T14998</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15017\" title=\"View the details of this artwork\"><span>T15017</span></a>). Known as <i>arpilleras</i>, which literally means ‘burlap’ in Spanish, these historic patchworks represent a popular form of artistic expression and political resistance that emerged in Latin America in the twentieth century. They were created in the 1970s by women from Chile’s most economically underprivileged population. Generally the artists remained anonymous because of the political subject matter of their work. </p>\n<p>These arpilleras depict scenes of daily life in shantytowns during the military regime of General Augusto Pinochet, who held power from 1973 to 1990. Despite their brightly coloured compositions, arpilleras often comment with unvarnished candour on government repression and kidnappings, lack of employment and everyday struggles for survival. In some cases, the artists used the clothing of disappeared family members to construct their imagery. In addition to clothes, some artists included non-fabric materials to enliven the scene and further establish its relationship to lived reality. These works were produced in workshops organised by the Catholic Church and sold abroad to raise awareness of living conditions under the dictatorship, and to provide a source of income for the families of disappeared citizens, political prisoners and members of impoverished communities. A number of the arpilleras address a range of topical themes that include welfare, education, employment and city life, while others feature inspirational aphorisms such as ‘Never surrender or stray from the path’. Several of these textiles also include pockets with notes written by the artist that describe the scene or relay a message.</p>\n<p>Tate’s collection of twenty arpilleras was assembled by curator and writer Guy Brett and his wife Alejandra, whose father was a leader in President Salvador Allende’s government that was overthrown by Pinochet in 1973. The couple was deeply invested in finding ways to aid anti-authoritarian and humanitarian causes in Chile from abroad. They presented these arpilleras to Tate in 2018.</p>\n<p>A number of the arpilleras also include typewritten notes in English that come from when they were included in Guy Brett’s exhibition <i>We Want People to Know the Truth. Patchwork Pictures from Chile</i> (Third Eye Centre, Glasgow and touring, 1977), the first exhibition of arpilleras in Britain.</p>\n<p>Below is a description of each arpillera, identified by the descriptive summary provided by the Bretts. The titles are largely descriptive ones that have been assigned to the works for the purpose of identification, since few of the arpilleras would have been formally titled by their makers:</p>\n<p><span>T14998</span> [Personal Development Workshop] depicts one of the educational workshops that the Catholic Church ran for impoverished citizens. The one in question focuses on marital relationships, and shows many hands raising to contribute to the discussion of ‘What I expect from my partner’ and ‘What my partner expects from me’, as written up on the wall.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t14999\" title=\"View the details of this artwork\"><span>T14999</span></a> [The children and the mother are crying…] presents in the foreground a woman crying and preventing her drunk husband from entering their home. Inside the building, their children are awake and crying in response to the violence threatening their household.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15000\" title=\"View the details of this artwork\"><span>T15000</span></a> [<i>Sexualida</i> (Personal Development Workshop)] illustrates an educational workshop, focusing on sexuality (‘sexualidad’ in Spanish), a word that appears partially written on the blackboard portrayed in this arpillera. A note that accompanies the arpillera reads, in translation, ‘This patchwork represents our group when we received the theme of sexuality; for me it was a very hard moment because one never cares to address this issue and for me the moment when I discovered it was the most important one because I cried a lot when I realised that the most important fault in my marriage was sexual relationship. It is very relevant to learn about these issues because one learns to know one’s body and its parts by name.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15001\" title=\"View the details of this artwork\"><span>T15001</span></a> [Communal Meal] pictures a public canteen. A group of villagers sit at a large table waiting to be served their meal that is being heated. In the foreground, a line of women queue. They carry miniature plastic bags containing real grains of rice, lentils and dried pasta.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15002\" title=\"View the details of this artwork\"><span>T15002</span></a> [Working in the field] depicts a rural area close to the mountains. Several workers tend a field surrounded by fencing. A woman waters her garden. Children play outside their houses and transport water. One of the houses presents a door that can be opened by the viewer.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15003\" title=\"View the details of this artwork\"><span>T15003</span></a> [Neighbourhood] makes reference to the limited electricity provided to the shantytowns of Santiago. This arpillera presents many electric wires in front of the shanty buildings and three electrical poles marked with a red X, one of which is being climbed by a man with a ladder. Below him, another man stands by a car that reads ‘CHILECTR…’ which is likely the name of the privatised electrical company undertaking the works.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15004\" title=\"View the details of this artwork\"><span>T15004</span></a> [Rainy Street] illustrates a rainy landscape where a group of women strolls through an avenue that divides a wealthy part of the city – indicated by multi-storey buildings – and a shantytown village. In the middle of the avenue a street seller advertises his merchandise. The scene is covered by an intermittent white thread representing a heavy rain.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15005\" title=\"View the details of this artwork\"><span>T15005</span></a> [Nunca te entregues ni te apartes del camino] presents the revolutionary motto ‘Never surrender or stray from the path’. The arpillera illustrates this motto with a path leading to a shining sun followed by a group of five doves. On the back of this arpillera the sentence ‘No se vende’ (Not for sale) and the name Matta are written in black pen, indicating that the arpillera used to be owned by the Chilean painter Roberto Matta (1911–2002), who subsequently gave it to Guy Brett.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15006\" title=\"View the details of this artwork\"><span>T15006</span></a> [<i>Nosotros nos reunimos</i> (We get together)] portrays a community meeting being interrupted by police. The meeting takes place in a building labelled ‘Comite Hirma 2’ (Hirma Comittee 2) that features a sign outside that reads, ‘Hoy reunion sobre problemas de agua y luz’ (Meeting today about the water and electricity problems). In the scene two policemen are holding batons and standing in front of the door of the ‘Comite’ building.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15007\" title=\"View the details of this artwork\"><span>T15007</span></a> [Street scene] represents another shantytown scene. In the foreground a group of villagers queue to get water from a public water supplier and in the background women dry their clothes.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15008\" title=\"View the details of this artwork\"><span>T15008</span></a> [A supermarket that also had to close its doors] displays a textile shop and a food market, each with very little stock and a line of people queuing. A note with the arpillera reads, ‘This is a central street where people line up to shop and there are no sales’. The arpillera includes a typewritten note pinned to the top left side that reads, ‘A supermarket that also had to close its doors. They were selling very little and went bankrupt.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15009\" title=\"View the details of this artwork\"><span>T15009</span></a> [Attempt at perspective] presents an aerial view of a street with a central pathway surrounded by humble houses on both sides. A typewritten note in English reads, ‘A street scene – and an attempt at perspective.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15010\" title=\"View the details of this artwork\"><span>T15010</span></a> [<i>Taller de arpillera</i> (Arpillera Workshop)] is a depiction of an arpillera-making workshop, such as those organised by the Catholic Church. Women sit at a big table, arranging scraps of fabric. The title <i>Taller de arpillera</i> (Arpillera workshop) is stitched above the scene, with a mountain range view – characteristic of the Chilean landscape – in the background.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15011\" title=\"View the details of this artwork\"><span>T15011</span></a> [A Closed Factory] shows a group of people gathering outside three houses. The arpillera is accompanied by two notes: one handwritten note reads ‘industria cerrada’ (factory closed), and a note pinned to the top left side, typewritten in English, reads, ‘A closed factory. Men and women are left without work.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15012\" title=\"View the details of this artwork\"><span>T15012</span></a> [Three-storey houses] depicts a main road running diagonally from right to left. At both sides of the road, a three-storey house is depicted next to a humble one-storey shack. The arpillera has a note pinned to the top left side, typewritten in English that reads, ‘The three storey houses must denote those of well-to-do people. All the houses in the poblaciones are one storey only.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15013\" title=\"View the details of this artwork\"><span>T15013</span></a> [Female villager] differs from most of the arpilleras in this collection because of its portrait orientation and because it is made from burlap sack. It depicts the bustling life of the neighbourhood. A handwritten descriptive note pinned to the back reads, ‘2nd. Job of a female villager. Multiple workshops. Up, cat walking on the rooftop. Master working with ladder at hand. Female villagers with working sacks. The doors and windows of the different workshops open up with people behind them. Electricity posts and cables. Pallet truck to carry material.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15014\" title=\"View the details of this artwork\"><span>T15014</span></a> [Street scene] depicts a street scene but differs from most of the arpilleras in this collection because of its portrait orientation and by the fact that it appears to be signed by its maker, the name ‘Clara M.’ being embroidered name in the bottom right corner.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15015\" title=\"View the details of this artwork\"><span>T15015</span></a> [Canteen] shows three women fetching water while men head towards a canteen. The arpillera is accompanied by two notes: one handwritten note kept in a pocket on the back of the cloth reads, ‘Poblacion y cantina. Aduana’ (Village and Canteen. Customs); and a typewritten note written in English and pinned to the top left side of the front that reads, ‘In the majority of the “poblaciones” the women have to go and get water at a common faucet. There is no safe supply of drinking water.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15016\" title=\"View the details of this artwork\"><span>T15016</span></a> [The factory is closed] illustrates a group of workers standing outside a factory. The arpillera has a note pinned to the top left side, typewritten in English, that reads, ‘The factory is closed. Men are unemployed.’</p>\n<p><span>T15017</span> [The Doctors] shows a group of villagers, including an extremely thin woman, standing by a doorway. The arpillera is accompanied by a fragment of a handwritten note and a typed note pinned to the top left side, typewritten in English, that reads, ‘Two doctors go to visit the daughter of a woman suffering from an advanced state of malnutrition.’</p>\n<p>\n<b>Further reading</b>\n<br/>Guy Brett, <i>We Want People to Know the Truth. Patchwork Pictures from Chile</i>, exhibition catalogue, Third Eye, Glasgow and touring 1977.<br/>Guy Brett, <i>Through Our Own Eyes: Popular Art and Modern History</i>, London 1986.<br/>Marjorie Agosin, <i>Scraps of Life: Chilean Arpilleras, Chilean Women and the Pinochet Dictatorship</i>, Toronto 1987.</p>\n<p>Michael Wellen, Fiontán Moran, Alice Ongaro and Sol Polo<br/>January 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-12-01T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Cotton, linen and wool on cotton, ink on paper and needle	[ { "append_role_to_name": false, "date": "", "fc": "Unknown woman artist, Chile", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/unknown-woman-artist-chile-27644" } ]	120,729	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 256314, "shortTitle": "Arpilleras: group of 20 patchwork pictures from Chile" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,970	Unknown woman artist, Chile		2,018		[]	Presented by Guy Brett and Alejandra Altamirano 2018	T15010	{ "id": 8, "meta": { "type": "art.Classification" } }			1000049 1000002	Unknown woman artist, Chile	1,970	[]	<p>This work is one of a group of textile works in Tate’s collection by unknown Chilean female artists (Tate T14998–T15017). Known as <span>arpilleras</span>, which literally means ‘burlap’ in Spanish, these historic patchworks represent a popular form of artistic expression and political resistance that emerged in Latin America in the twentieth century. They were created in the 1970s by women from Chile’s most economically underprivileged population. Generally the artists remained anonymous because of the political subject matter of their work.</p>	false	1	https://media.tate.org.u…T15/T15010_9.jpg	27644	sculpture cotton linen wool ink paper needle	[ { "artistRoomsTour": false, "dateText": "25 November 2019 – 19 July 2020", "endDate": "2020-07-19", "exhibitionLegs": [ { "dateText": "25 November 2019 – 19 July 2020", "endDate": "2020-07-19", "id": 13590, "startDate": "2019-11-25", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11206, "startDate": "2019-11-25", "title": "1973 Display", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "23 February 2022 – 5 June 2022", "endDate": "2022-06-05", "exhibitionLegs": [ { "dateText": "23 February 2022 – 5 June 2022", "endDate": "2022-06-05", "id": 14263, "startDate": "2022-02-23", "venueName": "Whitechapel Gallery (London, UK)", "venueWebsiteUrl": "http://www.whitechapel.org/" } ], "id": 11770, "startDate": "2022-02-23", "title": "A Century of the The Artist's Studio 1920-2020", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "13 February 2024 – 5 January 2025", "endDate": "2025-01-05", "exhibitionLegs": [ { "dateText": "13 February 2024 – 26 May 2024", "endDate": "2024-05-26", "id": 15607, "startDate": "2024-02-13", "venueName": "Barbican Art Gallery (London, UK)", "venueWebsiteUrl": null }, { "dateText": "14 September 2024 – 5 January 2025", "endDate": "2025-01-05", "id": 15608, "startDate": "2024-09-14", "venueName": "Stedelijk Museum (Amsterdam, Netherlands)", "venueWebsiteUrl": null } ], "id": 12806, "startDate": "2024-02-13", "title": "Unravel: Textile Art from the 1960s to Now", "type": "Loan-out" } ]	[no title]	1,970	Tate	1970s		CLEARED	8	object: 400 × 460 mm	accessioned work	Tate	Presented by Guy Brett and Alejandra Altamirano 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This work is one of a group of textile works in Tate’s collection by unknown Chilean female artists (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t14998\" title=\"View the details of this artwork\"><span>T14998</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15017\" title=\"View the details of this artwork\"><span>T15017</span></a>). Known as <i>arpilleras</i>, which literally means ‘burlap’ in Spanish, these historic patchworks represent a popular form of artistic expression and political resistance that emerged in Latin America in the twentieth century. They were created in the 1970s by women from Chile’s most economically underprivileged population. Generally the artists remained anonymous because of the political subject matter of their work. </p>\n<p>These arpilleras depict scenes of daily life in shantytowns during the military regime of General Augusto Pinochet, who held power from 1973 to 1990. Despite their brightly coloured compositions, arpilleras often comment with unvarnished candour on government repression and kidnappings, lack of employment and everyday struggles for survival. In some cases, the artists used the clothing of disappeared family members to construct their imagery. In addition to clothes, some artists included non-fabric materials to enliven the scene and further establish its relationship to lived reality. These works were produced in workshops organised by the Catholic Church and sold abroad to raise awareness of living conditions under the dictatorship, and to provide a source of income for the families of disappeared citizens, political prisoners and members of impoverished communities. A number of the arpilleras address a range of topical themes that include welfare, education, employment and city life, while others feature inspirational aphorisms such as ‘Never surrender or stray from the path’. Several of these textiles also include pockets with notes written by the artist that describe the scene or relay a message.</p>\n<p>Tate’s collection of twenty arpilleras was assembled by curator and writer Guy Brett and his wife Alejandra, whose father was a leader in President Salvador Allende’s government that was overthrown by Pinochet in 1973. The couple was deeply invested in finding ways to aid anti-authoritarian and humanitarian causes in Chile from abroad. They presented these arpilleras to Tate in 2018.</p>\n<p>A number of the arpilleras also include typewritten notes in English that come from when they were included in Guy Brett’s exhibition <i>We Want People to Know the Truth. Patchwork Pictures from Chile</i> (Third Eye Centre, Glasgow and touring, 1977), the first exhibition of arpilleras in Britain.</p>\n<p>Below is a description of each arpillera, identified by the descriptive summary provided by the Bretts. The titles are largely descriptive ones that have been assigned to the works for the purpose of identification, since few of the arpilleras would have been formally titled by their makers:</p>\n<p><span>T14998</span> [Personal Development Workshop] depicts one of the educational workshops that the Catholic Church ran for impoverished citizens. The one in question focuses on marital relationships, and shows many hands raising to contribute to the discussion of ‘What I expect from my partner’ and ‘What my partner expects from me’, as written up on the wall.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t14999\" title=\"View the details of this artwork\"><span>T14999</span></a> [The children and the mother are crying…] presents in the foreground a woman crying and preventing her drunk husband from entering their home. Inside the building, their children are awake and crying in response to the violence threatening their household.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15000\" title=\"View the details of this artwork\"><span>T15000</span></a> [<i>Sexualida</i> (Personal Development Workshop)] illustrates an educational workshop, focusing on sexuality (‘sexualidad’ in Spanish), a word that appears partially written on the blackboard portrayed in this arpillera. A note that accompanies the arpillera reads, in translation, ‘This patchwork represents our group when we received the theme of sexuality; for me it was a very hard moment because one never cares to address this issue and for me the moment when I discovered it was the most important one because I cried a lot when I realised that the most important fault in my marriage was sexual relationship. It is very relevant to learn about these issues because one learns to know one’s body and its parts by name.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15001\" title=\"View the details of this artwork\"><span>T15001</span></a> [Communal Meal] pictures a public canteen. A group of villagers sit at a large table waiting to be served their meal that is being heated. In the foreground, a line of women queue. They carry miniature plastic bags containing real grains of rice, lentils and dried pasta.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15002\" title=\"View the details of this artwork\"><span>T15002</span></a> [Working in the field] depicts a rural area close to the mountains. Several workers tend a field surrounded by fencing. A woman waters her garden. Children play outside their houses and transport water. One of the houses presents a door that can be opened by the viewer.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15003\" title=\"View the details of this artwork\"><span>T15003</span></a> [Neighbourhood] makes reference to the limited electricity provided to the shantytowns of Santiago. This arpillera presents many electric wires in front of the shanty buildings and three electrical poles marked with a red X, one of which is being climbed by a man with a ladder. Below him, another man stands by a car that reads ‘CHILECTR…’ which is likely the name of the privatised electrical company undertaking the works.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15004\" title=\"View the details of this artwork\"><span>T15004</span></a> [Rainy Street] illustrates a rainy landscape where a group of women strolls through an avenue that divides a wealthy part of the city – indicated by multi-storey buildings – and a shantytown village. In the middle of the avenue a street seller advertises his merchandise. The scene is covered by an intermittent white thread representing a heavy rain.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15005\" title=\"View the details of this artwork\"><span>T15005</span></a> [Nunca te entregues ni te apartes del camino] presents the revolutionary motto ‘Never surrender or stray from the path’. The arpillera illustrates this motto with a path leading to a shining sun followed by a group of five doves. On the back of this arpillera the sentence ‘No se vende’ (Not for sale) and the name Matta are written in black pen, indicating that the arpillera used to be owned by the Chilean painter Roberto Matta (1911–2002), who subsequently gave it to Guy Brett.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15006\" title=\"View the details of this artwork\"><span>T15006</span></a> [<i>Nosotros nos reunimos</i> (We get together)] portrays a community meeting being interrupted by police. The meeting takes place in a building labelled ‘Comite Hirma 2’ (Hirma Comittee 2) that features a sign outside that reads, ‘Hoy reunion sobre problemas de agua y luz’ (Meeting today about the water and electricity problems). In the scene two policemen are holding batons and standing in front of the door of the ‘Comite’ building.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15007\" title=\"View the details of this artwork\"><span>T15007</span></a> [Street scene] represents another shantytown scene. In the foreground a group of villagers queue to get water from a public water supplier and in the background women dry their clothes.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15008\" title=\"View the details of this artwork\"><span>T15008</span></a> [A supermarket that also had to close its doors] displays a textile shop and a food market, each with very little stock and a line of people queuing. A note with the arpillera reads, ‘This is a central street where people line up to shop and there are no sales’. The arpillera includes a typewritten note pinned to the top left side that reads, ‘A supermarket that also had to close its doors. They were selling very little and went bankrupt.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15009\" title=\"View the details of this artwork\"><span>T15009</span></a> [Attempt at perspective] presents an aerial view of a street with a central pathway surrounded by humble houses on both sides. A typewritten note in English reads, ‘A street scene – and an attempt at perspective.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15010\" title=\"View the details of this artwork\"><span>T15010</span></a> [<i>Taller de arpillera</i> (Arpillera Workshop)] is a depiction of an arpillera-making workshop, such as those organised by the Catholic Church. Women sit at a big table, arranging scraps of fabric. The title <i>Taller de arpillera</i> (Arpillera workshop) is stitched above the scene, with a mountain range view – characteristic of the Chilean landscape – in the background.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15011\" title=\"View the details of this artwork\"><span>T15011</span></a> [A Closed Factory] shows a group of people gathering outside three houses. The arpillera is accompanied by two notes: one handwritten note reads ‘industria cerrada’ (factory closed), and a note pinned to the top left side, typewritten in English, reads, ‘A closed factory. Men and women are left without work.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15012\" title=\"View the details of this artwork\"><span>T15012</span></a> [Three-storey houses] depicts a main road running diagonally from right to left. At both sides of the road, a three-storey house is depicted next to a humble one-storey shack. The arpillera has a note pinned to the top left side, typewritten in English that reads, ‘The three storey houses must denote those of well-to-do people. All the houses in the poblaciones are one storey only.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15013\" title=\"View the details of this artwork\"><span>T15013</span></a> [Female villager] differs from most of the arpilleras in this collection because of its portrait orientation and because it is made from burlap sack. It depicts the bustling life of the neighbourhood. A handwritten descriptive note pinned to the back reads, ‘2nd. Job of a female villager. Multiple workshops. Up, cat walking on the rooftop. Master working with ladder at hand. Female villagers with working sacks. The doors and windows of the different workshops open up with people behind them. Electricity posts and cables. Pallet truck to carry material.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15014\" title=\"View the details of this artwork\"><span>T15014</span></a> [Street scene] depicts a street scene but differs from most of the arpilleras in this collection because of its portrait orientation and by the fact that it appears to be signed by its maker, the name ‘Clara M.’ being embroidered name in the bottom right corner.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15015\" title=\"View the details of this artwork\"><span>T15015</span></a> [Canteen] shows three women fetching water while men head towards a canteen. The arpillera is accompanied by two notes: one handwritten note kept in a pocket on the back of the cloth reads, ‘Poblacion y cantina. Aduana’ (Village and Canteen. Customs); and a typewritten note written in English and pinned to the top left side of the front that reads, ‘In the majority of the “poblaciones” the women have to go and get water at a common faucet. There is no safe supply of drinking water.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15016\" title=\"View the details of this artwork\"><span>T15016</span></a> [The factory is closed] illustrates a group of workers standing outside a factory. The arpillera has a note pinned to the top left side, typewritten in English, that reads, ‘The factory is closed. Men are unemployed.’</p>\n<p><span>T15017</span> [The Doctors] shows a group of villagers, including an extremely thin woman, standing by a doorway. The arpillera is accompanied by a fragment of a handwritten note and a typed note pinned to the top left side, typewritten in English, that reads, ‘Two doctors go to visit the daughter of a woman suffering from an advanced state of malnutrition.’</p>\n<p>\n<b>Further reading</b>\n<br/>Guy Brett, <i>We Want People to Know the Truth. Patchwork Pictures from Chile</i>, exhibition catalogue, Third Eye, Glasgow and touring 1977.<br/>Guy Brett, <i>Through Our Own Eyes: Popular Art and Modern History</i>, London 1986.<br/>Marjorie Agosin, <i>Scraps of Life: Chilean Arpilleras, Chilean Women and the Pinochet Dictatorship</i>, Toronto 1987.</p>\n<p>Michael Wellen, Fiontán Moran, Alice Ongaro and Sol Polo<br/>January 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-12-01T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Cotton, linen and wool on cotton, ink on paper and pin	[ { "append_role_to_name": false, "date": "", "fc": "Unknown woman artist, Chile", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/unknown-woman-artist-chile-27644" } ]	120,730	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 256314, "shortTitle": "Arpilleras: group of 20 patchwork pictures from Chile" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,970	Unknown woman artist, Chile		2,018		[]	Presented by Guy Brett and Alejandra Altamirano 2018	T15011	{ "id": 8, "meta": { "type": "art.Classification" } }			1000049 1000002	Unknown woman artist, Chile	1,970	[]	<p>This work is one of a group of textile works in Tate’s collection by unknown Chilean female artists (Tate T14998–T15017). Known as <span>arpilleras</span>, which literally means ‘burlap’ in Spanish, these historic patchworks represent a popular form of artistic expression and political resistance that emerged in Latin America in the twentieth century. They were created in the 1970s by women from Chile’s most economically underprivileged population. Generally the artists remained anonymous because of the political subject matter of their work.</p>	false	1	https://media.tate.org.u…15/T15011_10.jpg	27644	sculpture cotton linen wool ink paper pin	[ { "artistRoomsTour": false, "dateText": "25 November 2019 – 19 July 2020", "endDate": "2020-07-19", "exhibitionLegs": [ { "dateText": "25 November 2019 – 19 July 2020", "endDate": "2020-07-19", "id": 13590, "startDate": "2019-11-25", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11206, "startDate": "2019-11-25", "title": "1973 Display", "type": "Collection based display" } ]	[no title]	1,970	Tate	1970s		CLEARED	8	object: 350 × 500 mm	accessioned work	Tate	Presented by Guy Brett and Alejandra Altamirano 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This work is one of a group of textile works in Tate’s collection by unknown Chilean female artists (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t14998\" title=\"View the details of this artwork\"><span>T14998</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15017\" title=\"View the details of this artwork\"><span>T15017</span></a>). Known as <i>arpilleras</i>, which literally means ‘burlap’ in Spanish, these historic patchworks represent a popular form of artistic expression and political resistance that emerged in Latin America in the twentieth century. They were created in the 1970s by women from Chile’s most economically underprivileged population. Generally the artists remained anonymous because of the political subject matter of their work. </p>\n<p>These arpilleras depict scenes of daily life in shantytowns during the military regime of General Augusto Pinochet, who held power from 1973 to 1990. Despite their brightly coloured compositions, arpilleras often comment with unvarnished candour on government repression and kidnappings, lack of employment and everyday struggles for survival. In some cases, the artists used the clothing of disappeared family members to construct their imagery. In addition to clothes, some artists included non-fabric materials to enliven the scene and further establish its relationship to lived reality. These works were produced in workshops organised by the Catholic Church and sold abroad to raise awareness of living conditions under the dictatorship, and to provide a source of income for the families of disappeared citizens, political prisoners and members of impoverished communities. A number of the arpilleras address a range of topical themes that include welfare, education, employment and city life, while others feature inspirational aphorisms such as ‘Never surrender or stray from the path’. Several of these textiles also include pockets with notes written by the artist that describe the scene or relay a message.</p>\n<p>Tate’s collection of twenty arpilleras was assembled by curator and writer Guy Brett and his wife Alejandra, whose father was a leader in President Salvador Allende’s government that was overthrown by Pinochet in 1973. The couple was deeply invested in finding ways to aid anti-authoritarian and humanitarian causes in Chile from abroad. They presented these arpilleras to Tate in 2018.</p>\n<p>A number of the arpilleras also include typewritten notes in English that come from when they were included in Guy Brett’s exhibition <i>We Want People to Know the Truth. Patchwork Pictures from Chile</i> (Third Eye Centre, Glasgow and touring, 1977), the first exhibition of arpilleras in Britain.</p>\n<p>Below is a description of each arpillera, identified by the descriptive summary provided by the Bretts. The titles are largely descriptive ones that have been assigned to the works for the purpose of identification, since few of the arpilleras would have been formally titled by their makers:</p>\n<p><span>T14998</span> [Personal Development Workshop] depicts one of the educational workshops that the Catholic Church ran for impoverished citizens. The one in question focuses on marital relationships, and shows many hands raising to contribute to the discussion of ‘What I expect from my partner’ and ‘What my partner expects from me’, as written up on the wall.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t14999\" title=\"View the details of this artwork\"><span>T14999</span></a> [The children and the mother are crying…] presents in the foreground a woman crying and preventing her drunk husband from entering their home. Inside the building, their children are awake and crying in response to the violence threatening their household.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15000\" title=\"View the details of this artwork\"><span>T15000</span></a> [<i>Sexualida</i> (Personal Development Workshop)] illustrates an educational workshop, focusing on sexuality (‘sexualidad’ in Spanish), a word that appears partially written on the blackboard portrayed in this arpillera. A note that accompanies the arpillera reads, in translation, ‘This patchwork represents our group when we received the theme of sexuality; for me it was a very hard moment because one never cares to address this issue and for me the moment when I discovered it was the most important one because I cried a lot when I realised that the most important fault in my marriage was sexual relationship. It is very relevant to learn about these issues because one learns to know one’s body and its parts by name.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15001\" title=\"View the details of this artwork\"><span>T15001</span></a> [Communal Meal] pictures a public canteen. A group of villagers sit at a large table waiting to be served their meal that is being heated. In the foreground, a line of women queue. They carry miniature plastic bags containing real grains of rice, lentils and dried pasta.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15002\" title=\"View the details of this artwork\"><span>T15002</span></a> [Working in the field] depicts a rural area close to the mountains. Several workers tend a field surrounded by fencing. A woman waters her garden. Children play outside their houses and transport water. One of the houses presents a door that can be opened by the viewer.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15003\" title=\"View the details of this artwork\"><span>T15003</span></a> [Neighbourhood] makes reference to the limited electricity provided to the shantytowns of Santiago. This arpillera presents many electric wires in front of the shanty buildings and three electrical poles marked with a red X, one of which is being climbed by a man with a ladder. Below him, another man stands by a car that reads ‘CHILECTR…’ which is likely the name of the privatised electrical company undertaking the works.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15004\" title=\"View the details of this artwork\"><span>T15004</span></a> [Rainy Street] illustrates a rainy landscape where a group of women strolls through an avenue that divides a wealthy part of the city – indicated by multi-storey buildings – and a shantytown village. In the middle of the avenue a street seller advertises his merchandise. The scene is covered by an intermittent white thread representing a heavy rain.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15005\" title=\"View the details of this artwork\"><span>T15005</span></a> [Nunca te entregues ni te apartes del camino] presents the revolutionary motto ‘Never surrender or stray from the path’. The arpillera illustrates this motto with a path leading to a shining sun followed by a group of five doves. On the back of this arpillera the sentence ‘No se vende’ (Not for sale) and the name Matta are written in black pen, indicating that the arpillera used to be owned by the Chilean painter Roberto Matta (1911–2002), who subsequently gave it to Guy Brett.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15006\" title=\"View the details of this artwork\"><span>T15006</span></a> [<i>Nosotros nos reunimos</i> (We get together)] portrays a community meeting being interrupted by police. The meeting takes place in a building labelled ‘Comite Hirma 2’ (Hirma Comittee 2) that features a sign outside that reads, ‘Hoy reunion sobre problemas de agua y luz’ (Meeting today about the water and electricity problems). In the scene two policemen are holding batons and standing in front of the door of the ‘Comite’ building.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15007\" title=\"View the details of this artwork\"><span>T15007</span></a> [Street scene] represents another shantytown scene. In the foreground a group of villagers queue to get water from a public water supplier and in the background women dry their clothes.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15008\" title=\"View the details of this artwork\"><span>T15008</span></a> [A supermarket that also had to close its doors] displays a textile shop and a food market, each with very little stock and a line of people queuing. A note with the arpillera reads, ‘This is a central street where people line up to shop and there are no sales’. The arpillera includes a typewritten note pinned to the top left side that reads, ‘A supermarket that also had to close its doors. They were selling very little and went bankrupt.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15009\" title=\"View the details of this artwork\"><span>T15009</span></a> [Attempt at perspective] presents an aerial view of a street with a central pathway surrounded by humble houses on both sides. A typewritten note in English reads, ‘A street scene – and an attempt at perspective.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15010\" title=\"View the details of this artwork\"><span>T15010</span></a> [<i>Taller de arpillera</i> (Arpillera Workshop)] is a depiction of an arpillera-making workshop, such as those organised by the Catholic Church. Women sit at a big table, arranging scraps of fabric. The title <i>Taller de arpillera</i> (Arpillera workshop) is stitched above the scene, with a mountain range view – characteristic of the Chilean landscape – in the background.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15011\" title=\"View the details of this artwork\"><span>T15011</span></a> [A Closed Factory] shows a group of people gathering outside three houses. The arpillera is accompanied by two notes: one handwritten note reads ‘industria cerrada’ (factory closed), and a note pinned to the top left side, typewritten in English, reads, ‘A closed factory. Men and women are left without work.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15012\" title=\"View the details of this artwork\"><span>T15012</span></a> [Three-storey houses] depicts a main road running diagonally from right to left. At both sides of the road, a three-storey house is depicted next to a humble one-storey shack. The arpillera has a note pinned to the top left side, typewritten in English that reads, ‘The three storey houses must denote those of well-to-do people. All the houses in the poblaciones are one storey only.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15013\" title=\"View the details of this artwork\"><span>T15013</span></a> [Female villager] differs from most of the arpilleras in this collection because of its portrait orientation and because it is made from burlap sack. It depicts the bustling life of the neighbourhood. A handwritten descriptive note pinned to the back reads, ‘2nd. Job of a female villager. Multiple workshops. Up, cat walking on the rooftop. Master working with ladder at hand. Female villagers with working sacks. The doors and windows of the different workshops open up with people behind them. Electricity posts and cables. Pallet truck to carry material.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15014\" title=\"View the details of this artwork\"><span>T15014</span></a> [Street scene] depicts a street scene but differs from most of the arpilleras in this collection because of its portrait orientation and by the fact that it appears to be signed by its maker, the name ‘Clara M.’ being embroidered name in the bottom right corner.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15015\" title=\"View the details of this artwork\"><span>T15015</span></a> [Canteen] shows three women fetching water while men head towards a canteen. The arpillera is accompanied by two notes: one handwritten note kept in a pocket on the back of the cloth reads, ‘Poblacion y cantina. Aduana’ (Village and Canteen. Customs); and a typewritten note written in English and pinned to the top left side of the front that reads, ‘In the majority of the “poblaciones” the women have to go and get water at a common faucet. There is no safe supply of drinking water.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15016\" title=\"View the details of this artwork\"><span>T15016</span></a> [The factory is closed] illustrates a group of workers standing outside a factory. The arpillera has a note pinned to the top left side, typewritten in English, that reads, ‘The factory is closed. Men are unemployed.’</p>\n<p><span>T15017</span> [The Doctors] shows a group of villagers, including an extremely thin woman, standing by a doorway. The arpillera is accompanied by a fragment of a handwritten note and a typed note pinned to the top left side, typewritten in English, that reads, ‘Two doctors go to visit the daughter of a woman suffering from an advanced state of malnutrition.’</p>\n<p>\n<b>Further reading</b>\n<br/>Guy Brett, <i>We Want People to Know the Truth. Patchwork Pictures from Chile</i>, exhibition catalogue, Third Eye, Glasgow and touring 1977.<br/>Guy Brett, <i>Through Our Own Eyes: Popular Art and Modern History</i>, London 1986.<br/>Marjorie Agosin, <i>Scraps of Life: Chilean Arpilleras, Chilean Women and the Pinochet Dictatorship</i>, Toronto 1987.</p>\n<p>Michael Wellen, Fiontán Moran, Alice Ongaro and Sol Polo<br/>January 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-12-01T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Cotton, linen, felt and wool on cotton, ink on paper and pin	[ { "append_role_to_name": false, "date": "", "fc": "Unknown woman artist, Chile", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/unknown-woman-artist-chile-27644" } ]	120,731	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 256314, "shortTitle": "Arpilleras: group of 20 patchwork pictures from Chile" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,970	Unknown woman artist, Chile		2,018		[]	Presented by Guy Brett and Alejandra Altamirano 2018	T15012	{ "id": 8, "meta": { "type": "art.Classification" } }			1000049 1000002	Unknown woman artist, Chile	1,970	[]	<p>This work is one of a group of textile works in Tate’s collection by unknown Chilean female artists (Tate T14998–T15017). Known as <span>arpilleras</span>, which literally means ‘burlap’ in Spanish, these historic patchworks represent a popular form of artistic expression and political resistance that emerged in Latin America in the twentieth century. They were created in the 1970s by women from Chile’s most economically underprivileged population. Generally the artists remained anonymous because of the political subject matter of their work.</p>	false	1	https://media.tate.org.u…15/T15012_10.jpg	27644	sculpture cotton linen felt wool ink paper pin	[]	[no title]	1,970	Tate	1970s		CLEARED	8	object: 400 × 455 mm	accessioned work	Tate	Presented by Guy Brett and Alejandra Altamirano 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This work is one of a group of textile works in Tate’s collection by unknown Chilean female artists (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t14998\" title=\"View the details of this artwork\"><span>T14998</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15017\" title=\"View the details of this artwork\"><span>T15017</span></a>). Known as <i>arpilleras</i>, which literally means ‘burlap’ in Spanish, these historic patchworks represent a popular form of artistic expression and political resistance that emerged in Latin America in the twentieth century. They were created in the 1970s by women from Chile’s most economically underprivileged population. Generally the artists remained anonymous because of the political subject matter of their work. </p>\n<p>These arpilleras depict scenes of daily life in shantytowns during the military regime of General Augusto Pinochet, who held power from 1973 to 1990. Despite their brightly coloured compositions, arpilleras often comment with unvarnished candour on government repression and kidnappings, lack of employment and everyday struggles for survival. In some cases, the artists used the clothing of disappeared family members to construct their imagery. In addition to clothes, some artists included non-fabric materials to enliven the scene and further establish its relationship to lived reality. These works were produced in workshops organised by the Catholic Church and sold abroad to raise awareness of living conditions under the dictatorship, and to provide a source of income for the families of disappeared citizens, political prisoners and members of impoverished communities. A number of the arpilleras address a range of topical themes that include welfare, education, employment and city life, while others feature inspirational aphorisms such as ‘Never surrender or stray from the path’. Several of these textiles also include pockets with notes written by the artist that describe the scene or relay a message.</p>\n<p>Tate’s collection of twenty arpilleras was assembled by curator and writer Guy Brett and his wife Alejandra, whose father was a leader in President Salvador Allende’s government that was overthrown by Pinochet in 1973. The couple was deeply invested in finding ways to aid anti-authoritarian and humanitarian causes in Chile from abroad. They presented these arpilleras to Tate in 2018.</p>\n<p>A number of the arpilleras also include typewritten notes in English that come from when they were included in Guy Brett’s exhibition <i>We Want People to Know the Truth. Patchwork Pictures from Chile</i> (Third Eye Centre, Glasgow and touring, 1977), the first exhibition of arpilleras in Britain.</p>\n<p>Below is a description of each arpillera, identified by the descriptive summary provided by the Bretts. The titles are largely descriptive ones that have been assigned to the works for the purpose of identification, since few of the arpilleras would have been formally titled by their makers:</p>\n<p><span>T14998</span> [Personal Development Workshop] depicts one of the educational workshops that the Catholic Church ran for impoverished citizens. The one in question focuses on marital relationships, and shows many hands raising to contribute to the discussion of ‘What I expect from my partner’ and ‘What my partner expects from me’, as written up on the wall.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t14999\" title=\"View the details of this artwork\"><span>T14999</span></a> [The children and the mother are crying…] presents in the foreground a woman crying and preventing her drunk husband from entering their home. Inside the building, their children are awake and crying in response to the violence threatening their household.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15000\" title=\"View the details of this artwork\"><span>T15000</span></a> [<i>Sexualida</i> (Personal Development Workshop)] illustrates an educational workshop, focusing on sexuality (‘sexualidad’ in Spanish), a word that appears partially written on the blackboard portrayed in this arpillera. A note that accompanies the arpillera reads, in translation, ‘This patchwork represents our group when we received the theme of sexuality; for me it was a very hard moment because one never cares to address this issue and for me the moment when I discovered it was the most important one because I cried a lot when I realised that the most important fault in my marriage was sexual relationship. It is very relevant to learn about these issues because one learns to know one’s body and its parts by name.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15001\" title=\"View the details of this artwork\"><span>T15001</span></a> [Communal Meal] pictures a public canteen. A group of villagers sit at a large table waiting to be served their meal that is being heated. In the foreground, a line of women queue. They carry miniature plastic bags containing real grains of rice, lentils and dried pasta.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15002\" title=\"View the details of this artwork\"><span>T15002</span></a> [Working in the field] depicts a rural area close to the mountains. Several workers tend a field surrounded by fencing. A woman waters her garden. Children play outside their houses and transport water. One of the houses presents a door that can be opened by the viewer.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15003\" title=\"View the details of this artwork\"><span>T15003</span></a> [Neighbourhood] makes reference to the limited electricity provided to the shantytowns of Santiago. This arpillera presents many electric wires in front of the shanty buildings and three electrical poles marked with a red X, one of which is being climbed by a man with a ladder. Below him, another man stands by a car that reads ‘CHILECTR…’ which is likely the name of the privatised electrical company undertaking the works.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15004\" title=\"View the details of this artwork\"><span>T15004</span></a> [Rainy Street] illustrates a rainy landscape where a group of women strolls through an avenue that divides a wealthy part of the city – indicated by multi-storey buildings – and a shantytown village. In the middle of the avenue a street seller advertises his merchandise. The scene is covered by an intermittent white thread representing a heavy rain.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15005\" title=\"View the details of this artwork\"><span>T15005</span></a> [Nunca te entregues ni te apartes del camino] presents the revolutionary motto ‘Never surrender or stray from the path’. The arpillera illustrates this motto with a path leading to a shining sun followed by a group of five doves. On the back of this arpillera the sentence ‘No se vende’ (Not for sale) and the name Matta are written in black pen, indicating that the arpillera used to be owned by the Chilean painter Roberto Matta (1911–2002), who subsequently gave it to Guy Brett.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15006\" title=\"View the details of this artwork\"><span>T15006</span></a> [<i>Nosotros nos reunimos</i> (We get together)] portrays a community meeting being interrupted by police. The meeting takes place in a building labelled ‘Comite Hirma 2’ (Hirma Comittee 2) that features a sign outside that reads, ‘Hoy reunion sobre problemas de agua y luz’ (Meeting today about the water and electricity problems). In the scene two policemen are holding batons and standing in front of the door of the ‘Comite’ building.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15007\" title=\"View the details of this artwork\"><span>T15007</span></a> [Street scene] represents another shantytown scene. In the foreground a group of villagers queue to get water from a public water supplier and in the background women dry their clothes.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15008\" title=\"View the details of this artwork\"><span>T15008</span></a> [A supermarket that also had to close its doors] displays a textile shop and a food market, each with very little stock and a line of people queuing. A note with the arpillera reads, ‘This is a central street where people line up to shop and there are no sales’. The arpillera includes a typewritten note pinned to the top left side that reads, ‘A supermarket that also had to close its doors. They were selling very little and went bankrupt.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15009\" title=\"View the details of this artwork\"><span>T15009</span></a> [Attempt at perspective] presents an aerial view of a street with a central pathway surrounded by humble houses on both sides. A typewritten note in English reads, ‘A street scene – and an attempt at perspective.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15010\" title=\"View the details of this artwork\"><span>T15010</span></a> [<i>Taller de arpillera</i> (Arpillera Workshop)] is a depiction of an arpillera-making workshop, such as those organised by the Catholic Church. Women sit at a big table, arranging scraps of fabric. The title <i>Taller de arpillera</i> (Arpillera workshop) is stitched above the scene, with a mountain range view – characteristic of the Chilean landscape – in the background.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15011\" title=\"View the details of this artwork\"><span>T15011</span></a> [A Closed Factory] shows a group of people gathering outside three houses. The arpillera is accompanied by two notes: one handwritten note reads ‘industria cerrada’ (factory closed), and a note pinned to the top left side, typewritten in English, reads, ‘A closed factory. Men and women are left without work.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15012\" title=\"View the details of this artwork\"><span>T15012</span></a> [Three-storey houses] depicts a main road running diagonally from right to left. At both sides of the road, a three-storey house is depicted next to a humble one-storey shack. The arpillera has a note pinned to the top left side, typewritten in English that reads, ‘The three storey houses must denote those of well-to-do people. All the houses in the poblaciones are one storey only.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15013\" title=\"View the details of this artwork\"><span>T15013</span></a> [Female villager] differs from most of the arpilleras in this collection because of its portrait orientation and because it is made from burlap sack. It depicts the bustling life of the neighbourhood. A handwritten descriptive note pinned to the back reads, ‘2nd. Job of a female villager. Multiple workshops. Up, cat walking on the rooftop. Master working with ladder at hand. Female villagers with working sacks. The doors and windows of the different workshops open up with people behind them. Electricity posts and cables. Pallet truck to carry material.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15014\" title=\"View the details of this artwork\"><span>T15014</span></a> [Street scene] depicts a street scene but differs from most of the arpilleras in this collection because of its portrait orientation and by the fact that it appears to be signed by its maker, the name ‘Clara M.’ being embroidered name in the bottom right corner.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15015\" title=\"View the details of this artwork\"><span>T15015</span></a> [Canteen] shows three women fetching water while men head towards a canteen. The arpillera is accompanied by two notes: one handwritten note kept in a pocket on the back of the cloth reads, ‘Poblacion y cantina. Aduana’ (Village and Canteen. Customs); and a typewritten note written in English and pinned to the top left side of the front that reads, ‘In the majority of the “poblaciones” the women have to go and get water at a common faucet. There is no safe supply of drinking water.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15016\" title=\"View the details of this artwork\"><span>T15016</span></a> [The factory is closed] illustrates a group of workers standing outside a factory. The arpillera has a note pinned to the top left side, typewritten in English, that reads, ‘The factory is closed. Men are unemployed.’</p>\n<p><span>T15017</span> [The Doctors] shows a group of villagers, including an extremely thin woman, standing by a doorway. The arpillera is accompanied by a fragment of a handwritten note and a typed note pinned to the top left side, typewritten in English, that reads, ‘Two doctors go to visit the daughter of a woman suffering from an advanced state of malnutrition.’</p>\n<p>\n<b>Further reading</b>\n<br/>Guy Brett, <i>We Want People to Know the Truth. Patchwork Pictures from Chile</i>, exhibition catalogue, Third Eye, Glasgow and touring 1977.<br/>Guy Brett, <i>Through Our Own Eyes: Popular Art and Modern History</i>, London 1986.<br/>Marjorie Agosin, <i>Scraps of Life: Chilean Arpilleras, Chilean Women and the Pinochet Dictatorship</i>, Toronto 1987.</p>\n<p>Michael Wellen, Fiontán Moran, Alice Ongaro and Sol Polo<br/>January 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-12-01T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Cotton, linen, wool, textiles and hessian on cotton, ink on paper and pin	[ { "append_role_to_name": false, "date": "", "fc": "Unknown woman artist, Chile", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/unknown-woman-artist-chile-27644" } ]	120,732	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 256314, "shortTitle": "Arpilleras: group of 20 patchwork pictures from Chile" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,970	Unknown woman artist, Chile		2,018		[]	Presented by Guy Brett and Alejandra Altamirano 2018	T15013	{ "id": 8, "meta": { "type": "art.Classification" } }			1000049 1000002	Unknown woman artist, Chile	1,970	[]	<p>This work is one of a group of textile works in Tate’s collection by unknown Chilean female artists (Tate T14998–T15017). Known as <span>arpilleras</span>, which literally means ‘burlap’ in Spanish, these historic patchworks represent a popular form of artistic expression and political resistance that emerged in Latin America in the twentieth century. They were created in the 1970s by women from Chile’s most economically underprivileged population. Generally the artists remained anonymous because of the political subject matter of their work.</p>	false	1	https://media.tate.org.u…15/T15013_10.jpg	27644	sculpture cotton linen wool textiles hessian ink paper pin	[ { "artistRoomsTour": false, "dateText": "25 November 2019 – 19 July 2020", "endDate": "2020-07-19", "exhibitionLegs": [ { "dateText": "25 November 2019 – 19 July 2020", "endDate": "2020-07-19", "id": 13590, "startDate": "2019-11-25", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11206, "startDate": "2019-11-25", "title": "1973 Display", "type": "Collection based display" } ]	[no title]	1,970	Tate	1970s		CLEARED	8	object: 610 × 280 mm	accessioned work	Tate	Presented by Guy Brett and Alejandra Altamirano 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This work is one of a group of textile works in Tate’s collection by unknown Chilean female artists (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t14998\" title=\"View the details of this artwork\"><span>T14998</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15017\" title=\"View the details of this artwork\"><span>T15017</span></a>). Known as <i>arpilleras</i>, which literally means ‘burlap’ in Spanish, these historic patchworks represent a popular form of artistic expression and political resistance that emerged in Latin America in the twentieth century. They were created in the 1970s by women from Chile’s most economically underprivileged population. Generally the artists remained anonymous because of the political subject matter of their work. </p>\n<p>These arpilleras depict scenes of daily life in shantytowns during the military regime of General Augusto Pinochet, who held power from 1973 to 1990. Despite their brightly coloured compositions, arpilleras often comment with unvarnished candour on government repression and kidnappings, lack of employment and everyday struggles for survival. In some cases, the artists used the clothing of disappeared family members to construct their imagery. In addition to clothes, some artists included non-fabric materials to enliven the scene and further establish its relationship to lived reality. These works were produced in workshops organised by the Catholic Church and sold abroad to raise awareness of living conditions under the dictatorship, and to provide a source of income for the families of disappeared citizens, political prisoners and members of impoverished communities. A number of the arpilleras address a range of topical themes that include welfare, education, employment and city life, while others feature inspirational aphorisms such as ‘Never surrender or stray from the path’. Several of these textiles also include pockets with notes written by the artist that describe the scene or relay a message.</p>\n<p>Tate’s collection of twenty arpilleras was assembled by curator and writer Guy Brett and his wife Alejandra, whose father was a leader in President Salvador Allende’s government that was overthrown by Pinochet in 1973. The couple was deeply invested in finding ways to aid anti-authoritarian and humanitarian causes in Chile from abroad. They presented these arpilleras to Tate in 2018.</p>\n<p>A number of the arpilleras also include typewritten notes in English that come from when they were included in Guy Brett’s exhibition <i>We Want People to Know the Truth. Patchwork Pictures from Chile</i> (Third Eye Centre, Glasgow and touring, 1977), the first exhibition of arpilleras in Britain.</p>\n<p>Below is a description of each arpillera, identified by the descriptive summary provided by the Bretts. The titles are largely descriptive ones that have been assigned to the works for the purpose of identification, since few of the arpilleras would have been formally titled by their makers:</p>\n<p><span>T14998</span> [Personal Development Workshop] depicts one of the educational workshops that the Catholic Church ran for impoverished citizens. The one in question focuses on marital relationships, and shows many hands raising to contribute to the discussion of ‘What I expect from my partner’ and ‘What my partner expects from me’, as written up on the wall.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t14999\" title=\"View the details of this artwork\"><span>T14999</span></a> [The children and the mother are crying…] presents in the foreground a woman crying and preventing her drunk husband from entering their home. Inside the building, their children are awake and crying in response to the violence threatening their household.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15000\" title=\"View the details of this artwork\"><span>T15000</span></a> [<i>Sexualida</i> (Personal Development Workshop)] illustrates an educational workshop, focusing on sexuality (‘sexualidad’ in Spanish), a word that appears partially written on the blackboard portrayed in this arpillera. A note that accompanies the arpillera reads, in translation, ‘This patchwork represents our group when we received the theme of sexuality; for me it was a very hard moment because one never cares to address this issue and for me the moment when I discovered it was the most important one because I cried a lot when I realised that the most important fault in my marriage was sexual relationship. It is very relevant to learn about these issues because one learns to know one’s body and its parts by name.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15001\" title=\"View the details of this artwork\"><span>T15001</span></a> [Communal Meal] pictures a public canteen. A group of villagers sit at a large table waiting to be served their meal that is being heated. In the foreground, a line of women queue. They carry miniature plastic bags containing real grains of rice, lentils and dried pasta.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15002\" title=\"View the details of this artwork\"><span>T15002</span></a> [Working in the field] depicts a rural area close to the mountains. Several workers tend a field surrounded by fencing. A woman waters her garden. Children play outside their houses and transport water. One of the houses presents a door that can be opened by the viewer.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15003\" title=\"View the details of this artwork\"><span>T15003</span></a> [Neighbourhood] makes reference to the limited electricity provided to the shantytowns of Santiago. This arpillera presents many electric wires in front of the shanty buildings and three electrical poles marked with a red X, one of which is being climbed by a man with a ladder. Below him, another man stands by a car that reads ‘CHILECTR…’ which is likely the name of the privatised electrical company undertaking the works.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15004\" title=\"View the details of this artwork\"><span>T15004</span></a> [Rainy Street] illustrates a rainy landscape where a group of women strolls through an avenue that divides a wealthy part of the city – indicated by multi-storey buildings – and a shantytown village. In the middle of the avenue a street seller advertises his merchandise. The scene is covered by an intermittent white thread representing a heavy rain.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15005\" title=\"View the details of this artwork\"><span>T15005</span></a> [Nunca te entregues ni te apartes del camino] presents the revolutionary motto ‘Never surrender or stray from the path’. The arpillera illustrates this motto with a path leading to a shining sun followed by a group of five doves. On the back of this arpillera the sentence ‘No se vende’ (Not for sale) and the name Matta are written in black pen, indicating that the arpillera used to be owned by the Chilean painter Roberto Matta (1911–2002), who subsequently gave it to Guy Brett.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15006\" title=\"View the details of this artwork\"><span>T15006</span></a> [<i>Nosotros nos reunimos</i> (We get together)] portrays a community meeting being interrupted by police. The meeting takes place in a building labelled ‘Comite Hirma 2’ (Hirma Comittee 2) that features a sign outside that reads, ‘Hoy reunion sobre problemas de agua y luz’ (Meeting today about the water and electricity problems). In the scene two policemen are holding batons and standing in front of the door of the ‘Comite’ building.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15007\" title=\"View the details of this artwork\"><span>T15007</span></a> [Street scene] represents another shantytown scene. In the foreground a group of villagers queue to get water from a public water supplier and in the background women dry their clothes.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15008\" title=\"View the details of this artwork\"><span>T15008</span></a> [A supermarket that also had to close its doors] displays a textile shop and a food market, each with very little stock and a line of people queuing. A note with the arpillera reads, ‘This is a central street where people line up to shop and there are no sales’. The arpillera includes a typewritten note pinned to the top left side that reads, ‘A supermarket that also had to close its doors. They were selling very little and went bankrupt.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15009\" title=\"View the details of this artwork\"><span>T15009</span></a> [Attempt at perspective] presents an aerial view of a street with a central pathway surrounded by humble houses on both sides. A typewritten note in English reads, ‘A street scene – and an attempt at perspective.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15010\" title=\"View the details of this artwork\"><span>T15010</span></a> [<i>Taller de arpillera</i> (Arpillera Workshop)] is a depiction of an arpillera-making workshop, such as those organised by the Catholic Church. Women sit at a big table, arranging scraps of fabric. The title <i>Taller de arpillera</i> (Arpillera workshop) is stitched above the scene, with a mountain range view – characteristic of the Chilean landscape – in the background.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15011\" title=\"View the details of this artwork\"><span>T15011</span></a> [A Closed Factory] shows a group of people gathering outside three houses. The arpillera is accompanied by two notes: one handwritten note reads ‘industria cerrada’ (factory closed), and a note pinned to the top left side, typewritten in English, reads, ‘A closed factory. Men and women are left without work.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15012\" title=\"View the details of this artwork\"><span>T15012</span></a> [Three-storey houses] depicts a main road running diagonally from right to left. At both sides of the road, a three-storey house is depicted next to a humble one-storey shack. The arpillera has a note pinned to the top left side, typewritten in English that reads, ‘The three storey houses must denote those of well-to-do people. All the houses in the poblaciones are one storey only.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15013\" title=\"View the details of this artwork\"><span>T15013</span></a> [Female villager] differs from most of the arpilleras in this collection because of its portrait orientation and because it is made from burlap sack. It depicts the bustling life of the neighbourhood. A handwritten descriptive note pinned to the back reads, ‘2nd. Job of a female villager. Multiple workshops. Up, cat walking on the rooftop. Master working with ladder at hand. Female villagers with working sacks. The doors and windows of the different workshops open up with people behind them. Electricity posts and cables. Pallet truck to carry material.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15014\" title=\"View the details of this artwork\"><span>T15014</span></a> [Street scene] depicts a street scene but differs from most of the arpilleras in this collection because of its portrait orientation and by the fact that it appears to be signed by its maker, the name ‘Clara M.’ being embroidered name in the bottom right corner.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15015\" title=\"View the details of this artwork\"><span>T15015</span></a> [Canteen] shows three women fetching water while men head towards a canteen. The arpillera is accompanied by two notes: one handwritten note kept in a pocket on the back of the cloth reads, ‘Poblacion y cantina. Aduana’ (Village and Canteen. Customs); and a typewritten note written in English and pinned to the top left side of the front that reads, ‘In the majority of the “poblaciones” the women have to go and get water at a common faucet. There is no safe supply of drinking water.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15016\" title=\"View the details of this artwork\"><span>T15016</span></a> [The factory is closed] illustrates a group of workers standing outside a factory. The arpillera has a note pinned to the top left side, typewritten in English, that reads, ‘The factory is closed. Men are unemployed.’</p>\n<p><span>T15017</span> [The Doctors] shows a group of villagers, including an extremely thin woman, standing by a doorway. The arpillera is accompanied by a fragment of a handwritten note and a typed note pinned to the top left side, typewritten in English, that reads, ‘Two doctors go to visit the daughter of a woman suffering from an advanced state of malnutrition.’</p>\n<p>\n<b>Further reading</b>\n<br/>Guy Brett, <i>We Want People to Know the Truth. Patchwork Pictures from Chile</i>, exhibition catalogue, Third Eye, Glasgow and touring 1977.<br/>Guy Brett, <i>Through Our Own Eyes: Popular Art and Modern History</i>, London 1986.<br/>Marjorie Agosin, <i>Scraps of Life: Chilean Arpilleras, Chilean Women and the Pinochet Dictatorship</i>, Toronto 1987.</p>\n<p>Michael Wellen, Fiontán Moran, Alice Ongaro and Sol Polo<br/>January 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-12-01T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Cotton, linen and wool on hessian	[ { "append_role_to_name": false, "date": "", "fc": "Unknown woman artist, Chile", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/unknown-woman-artist-chile-27644" } ]	120,733	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 256314, "shortTitle": "Arpilleras: group of 20 patchwork pictures from Chile" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,970	Unknown woman artist, Chile		2,018		[]	Presented by Guy Brett and Alejandra Altamirano 2018	T15014	{ "id": 8, "meta": { "type": "art.Classification" } }			1000049 1000002	Unknown woman artist, Chile	1,970	[]	<p>This work is one of a group of textile works in Tate’s collection by unknown Chilean female artists (Tate T14998–T15017). Known as <span>arpilleras</span>, which literally means ‘burlap’ in Spanish, these historic patchworks represent a popular form of artistic expression and political resistance that emerged in Latin America in the twentieth century. They were created in the 1970s by women from Chile’s most economically underprivileged population. Generally the artists remained anonymous because of the political subject matter of their work.</p>	false	1	https://media.tate.org.u…T15/T15014_9.jpg	27644	sculpture cotton linen wool hessian	[ { "artistRoomsTour": false, "dateText": "25 November 2019 – 19 July 2020", "endDate": "2020-07-19", "exhibitionLegs": [ { "dateText": "25 November 2019 – 19 July 2020", "endDate": "2020-07-19", "id": 13590, "startDate": "2019-11-25", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11206, "startDate": "2019-11-25", "title": "1973 Display", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "23 February 2022 – 5 June 2022", "endDate": "2022-06-05", "exhibitionLegs": [ { "dateText": "23 February 2022 – 5 June 2022", "endDate": "2022-06-05", "id": 14263, "startDate": "2022-02-23", "venueName": "Whitechapel Gallery (London, UK)", "venueWebsiteUrl": "http://www.whitechapel.org/" } ], "id": 11770, "startDate": "2022-02-23", "title": "A Century of the The Artist's Studio 1920-2020", "type": "Loan-out" } ]	[no title]	1,970	Tate	1970s		CLEARED	8	object: 581 × 310 mm	accessioned work	Tate	Presented by Guy Brett and Alejandra Altamirano 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This work is one of a group of textile works in Tate’s collection by unknown Chilean female artists (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t14998\" title=\"View the details of this artwork\"><span>T14998</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15017\" title=\"View the details of this artwork\"><span>T15017</span></a>). Known as <i>arpilleras</i>, which literally means ‘burlap’ in Spanish, these historic patchworks represent a popular form of artistic expression and political resistance that emerged in Latin America in the twentieth century. They were created in the 1970s by women from Chile’s most economically underprivileged population. Generally the artists remained anonymous because of the political subject matter of their work. </p>\n<p>These arpilleras depict scenes of daily life in shantytowns during the military regime of General Augusto Pinochet, who held power from 1973 to 1990. Despite their brightly coloured compositions, arpilleras often comment with unvarnished candour on government repression and kidnappings, lack of employment and everyday struggles for survival. In some cases, the artists used the clothing of disappeared family members to construct their imagery. In addition to clothes, some artists included non-fabric materials to enliven the scene and further establish its relationship to lived reality. These works were produced in workshops organised by the Catholic Church and sold abroad to raise awareness of living conditions under the dictatorship, and to provide a source of income for the families of disappeared citizens, political prisoners and members of impoverished communities. A number of the arpilleras address a range of topical themes that include welfare, education, employment and city life, while others feature inspirational aphorisms such as ‘Never surrender or stray from the path’. Several of these textiles also include pockets with notes written by the artist that describe the scene or relay a message.</p>\n<p>Tate’s collection of twenty arpilleras was assembled by curator and writer Guy Brett and his wife Alejandra, whose father was a leader in President Salvador Allende’s government that was overthrown by Pinochet in 1973. The couple was deeply invested in finding ways to aid anti-authoritarian and humanitarian causes in Chile from abroad. They presented these arpilleras to Tate in 2018.</p>\n<p>A number of the arpilleras also include typewritten notes in English that come from when they were included in Guy Brett’s exhibition <i>We Want People to Know the Truth. Patchwork Pictures from Chile</i> (Third Eye Centre, Glasgow and touring, 1977), the first exhibition of arpilleras in Britain.</p>\n<p>Below is a description of each arpillera, identified by the descriptive summary provided by the Bretts. The titles are largely descriptive ones that have been assigned to the works for the purpose of identification, since few of the arpilleras would have been formally titled by their makers:</p>\n<p><span>T14998</span> [Personal Development Workshop] depicts one of the educational workshops that the Catholic Church ran for impoverished citizens. The one in question focuses on marital relationships, and shows many hands raising to contribute to the discussion of ‘What I expect from my partner’ and ‘What my partner expects from me’, as written up on the wall.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t14999\" title=\"View the details of this artwork\"><span>T14999</span></a> [The children and the mother are crying…] presents in the foreground a woman crying and preventing her drunk husband from entering their home. Inside the building, their children are awake and crying in response to the violence threatening their household.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15000\" title=\"View the details of this artwork\"><span>T15000</span></a> [<i>Sexualida</i> (Personal Development Workshop)] illustrates an educational workshop, focusing on sexuality (‘sexualidad’ in Spanish), a word that appears partially written on the blackboard portrayed in this arpillera. A note that accompanies the arpillera reads, in translation, ‘This patchwork represents our group when we received the theme of sexuality; for me it was a very hard moment because one never cares to address this issue and for me the moment when I discovered it was the most important one because I cried a lot when I realised that the most important fault in my marriage was sexual relationship. It is very relevant to learn about these issues because one learns to know one’s body and its parts by name.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15001\" title=\"View the details of this artwork\"><span>T15001</span></a> [Communal Meal] pictures a public canteen. A group of villagers sit at a large table waiting to be served their meal that is being heated. In the foreground, a line of women queue. They carry miniature plastic bags containing real grains of rice, lentils and dried pasta.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15002\" title=\"View the details of this artwork\"><span>T15002</span></a> [Working in the field] depicts a rural area close to the mountains. Several workers tend a field surrounded by fencing. A woman waters her garden. Children play outside their houses and transport water. One of the houses presents a door that can be opened by the viewer.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15003\" title=\"View the details of this artwork\"><span>T15003</span></a> [Neighbourhood] makes reference to the limited electricity provided to the shantytowns of Santiago. This arpillera presents many electric wires in front of the shanty buildings and three electrical poles marked with a red X, one of which is being climbed by a man with a ladder. Below him, another man stands by a car that reads ‘CHILECTR…’ which is likely the name of the privatised electrical company undertaking the works.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15004\" title=\"View the details of this artwork\"><span>T15004</span></a> [Rainy Street] illustrates a rainy landscape where a group of women strolls through an avenue that divides a wealthy part of the city – indicated by multi-storey buildings – and a shantytown village. In the middle of the avenue a street seller advertises his merchandise. The scene is covered by an intermittent white thread representing a heavy rain.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15005\" title=\"View the details of this artwork\"><span>T15005</span></a> [Nunca te entregues ni te apartes del camino] presents the revolutionary motto ‘Never surrender or stray from the path’. The arpillera illustrates this motto with a path leading to a shining sun followed by a group of five doves. On the back of this arpillera the sentence ‘No se vende’ (Not for sale) and the name Matta are written in black pen, indicating that the arpillera used to be owned by the Chilean painter Roberto Matta (1911–2002), who subsequently gave it to Guy Brett.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15006\" title=\"View the details of this artwork\"><span>T15006</span></a> [<i>Nosotros nos reunimos</i> (We get together)] portrays a community meeting being interrupted by police. The meeting takes place in a building labelled ‘Comite Hirma 2’ (Hirma Comittee 2) that features a sign outside that reads, ‘Hoy reunion sobre problemas de agua y luz’ (Meeting today about the water and electricity problems). In the scene two policemen are holding batons and standing in front of the door of the ‘Comite’ building.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15007\" title=\"View the details of this artwork\"><span>T15007</span></a> [Street scene] represents another shantytown scene. In the foreground a group of villagers queue to get water from a public water supplier and in the background women dry their clothes.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15008\" title=\"View the details of this artwork\"><span>T15008</span></a> [A supermarket that also had to close its doors] displays a textile shop and a food market, each with very little stock and a line of people queuing. A note with the arpillera reads, ‘This is a central street where people line up to shop and there are no sales’. The arpillera includes a typewritten note pinned to the top left side that reads, ‘A supermarket that also had to close its doors. They were selling very little and went bankrupt.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15009\" title=\"View the details of this artwork\"><span>T15009</span></a> [Attempt at perspective] presents an aerial view of a street with a central pathway surrounded by humble houses on both sides. A typewritten note in English reads, ‘A street scene – and an attempt at perspective.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15010\" title=\"View the details of this artwork\"><span>T15010</span></a> [<i>Taller de arpillera</i> (Arpillera Workshop)] is a depiction of an arpillera-making workshop, such as those organised by the Catholic Church. Women sit at a big table, arranging scraps of fabric. The title <i>Taller de arpillera</i> (Arpillera workshop) is stitched above the scene, with a mountain range view – characteristic of the Chilean landscape – in the background.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15011\" title=\"View the details of this artwork\"><span>T15011</span></a> [A Closed Factory] shows a group of people gathering outside three houses. The arpillera is accompanied by two notes: one handwritten note reads ‘industria cerrada’ (factory closed), and a note pinned to the top left side, typewritten in English, reads, ‘A closed factory. Men and women are left without work.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15012\" title=\"View the details of this artwork\"><span>T15012</span></a> [Three-storey houses] depicts a main road running diagonally from right to left. At both sides of the road, a three-storey house is depicted next to a humble one-storey shack. The arpillera has a note pinned to the top left side, typewritten in English that reads, ‘The three storey houses must denote those of well-to-do people. All the houses in the poblaciones are one storey only.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15013\" title=\"View the details of this artwork\"><span>T15013</span></a> [Female villager] differs from most of the arpilleras in this collection because of its portrait orientation and because it is made from burlap sack. It depicts the bustling life of the neighbourhood. A handwritten descriptive note pinned to the back reads, ‘2nd. Job of a female villager. Multiple workshops. Up, cat walking on the rooftop. Master working with ladder at hand. Female villagers with working sacks. The doors and windows of the different workshops open up with people behind them. Electricity posts and cables. Pallet truck to carry material.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15014\" title=\"View the details of this artwork\"><span>T15014</span></a> [Street scene] depicts a street scene but differs from most of the arpilleras in this collection because of its portrait orientation and by the fact that it appears to be signed by its maker, the name ‘Clara M.’ being embroidered name in the bottom right corner.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15015\" title=\"View the details of this artwork\"><span>T15015</span></a> [Canteen] shows three women fetching water while men head towards a canteen. The arpillera is accompanied by two notes: one handwritten note kept in a pocket on the back of the cloth reads, ‘Poblacion y cantina. Aduana’ (Village and Canteen. Customs); and a typewritten note written in English and pinned to the top left side of the front that reads, ‘In the majority of the “poblaciones” the women have to go and get water at a common faucet. There is no safe supply of drinking water.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15016\" title=\"View the details of this artwork\"><span>T15016</span></a> [The factory is closed] illustrates a group of workers standing outside a factory. The arpillera has a note pinned to the top left side, typewritten in English, that reads, ‘The factory is closed. Men are unemployed.’</p>\n<p><span>T15017</span> [The Doctors] shows a group of villagers, including an extremely thin woman, standing by a doorway. The arpillera is accompanied by a fragment of a handwritten note and a typed note pinned to the top left side, typewritten in English, that reads, ‘Two doctors go to visit the daughter of a woman suffering from an advanced state of malnutrition.’</p>\n<p>\n<b>Further reading</b>\n<br/>Guy Brett, <i>We Want People to Know the Truth. Patchwork Pictures from Chile</i>, exhibition catalogue, Third Eye, Glasgow and touring 1977.<br/>Guy Brett, <i>Through Our Own Eyes: Popular Art and Modern History</i>, London 1986.<br/>Marjorie Agosin, <i>Scraps of Life: Chilean Arpilleras, Chilean Women and the Pinochet Dictatorship</i>, Toronto 1987.</p>\n<p>Michael Wellen, Fiontán Moran, Alice Ongaro and Sol Polo<br/>January 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-12-01T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Cotton, linen and wool on cotton, ink on paper and pin	[ { "append_role_to_name": false, "date": "", "fc": "Unknown woman artist, Chile", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/unknown-woman-artist-chile-27644" } ]	120,738	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 256314, "shortTitle": "Arpilleras: group of 20 patchwork pictures from Chile" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,970	Unknown woman artist, Chile		2,018		[]	Presented by Guy Brett and Alejandra Altamirano 2018	T15015	{ "id": 8, "meta": { "type": "art.Classification" } }			1000049 1000002	Unknown woman artist, Chile	1,970	[]	<p>This work is one of a group of textile works in Tate’s collection by unknown Chilean female artists (Tate T14998–T15017). Known as <span>arpilleras</span>, which literally means ‘burlap’ in Spanish, these historic patchworks represent a popular form of artistic expression and political resistance that emerged in Latin America in the twentieth century. They were created in the 1970s by women from Chile’s most economically underprivileged population. Generally the artists remained anonymous because of the political subject matter of their work.</p>	false	1	https://media.tate.org.u…15/T15015_10.jpg	27644	sculpture cotton linen wool ink paper pin	[ { "artistRoomsTour": false, "dateText": "25 November 2019 – 19 July 2020", "endDate": "2020-07-19", "exhibitionLegs": [ { "dateText": "25 November 2019 – 19 July 2020", "endDate": "2020-07-19", "id": 13590, "startDate": "2019-11-25", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11206, "startDate": "2019-11-25", "title": "1973 Display", "type": "Collection based display" } ]	[no title]	1,970	Tate	1970s		CLEARED	8	object: 375 × 480 mm	accessioned work	Tate	Presented by Guy Brett and Alejandra Altamirano 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This work is one of a group of textile works in Tate’s collection by unknown Chilean female artists (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t14998\" title=\"View the details of this artwork\"><span>T14998</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15017\" title=\"View the details of this artwork\"><span>T15017</span></a>). Known as <i>arpilleras</i>, which literally means ‘burlap’ in Spanish, these historic patchworks represent a popular form of artistic expression and political resistance that emerged in Latin America in the twentieth century. They were created in the 1970s by women from Chile’s most economically underprivileged population. Generally the artists remained anonymous because of the political subject matter of their work. </p>\n<p>These arpilleras depict scenes of daily life in shantytowns during the military regime of General Augusto Pinochet, who held power from 1973 to 1990. Despite their brightly coloured compositions, arpilleras often comment with unvarnished candour on government repression and kidnappings, lack of employment and everyday struggles for survival. In some cases, the artists used the clothing of disappeared family members to construct their imagery. In addition to clothes, some artists included non-fabric materials to enliven the scene and further establish its relationship to lived reality. These works were produced in workshops organised by the Catholic Church and sold abroad to raise awareness of living conditions under the dictatorship, and to provide a source of income for the families of disappeared citizens, political prisoners and members of impoverished communities. A number of the arpilleras address a range of topical themes that include welfare, education, employment and city life, while others feature inspirational aphorisms such as ‘Never surrender or stray from the path’. Several of these textiles also include pockets with notes written by the artist that describe the scene or relay a message.</p>\n<p>Tate’s collection of twenty arpilleras was assembled by curator and writer Guy Brett and his wife Alejandra, whose father was a leader in President Salvador Allende’s government that was overthrown by Pinochet in 1973. The couple was deeply invested in finding ways to aid anti-authoritarian and humanitarian causes in Chile from abroad. They presented these arpilleras to Tate in 2018.</p>\n<p>A number of the arpilleras also include typewritten notes in English that come from when they were included in Guy Brett’s exhibition <i>We Want People to Know the Truth. Patchwork Pictures from Chile</i> (Third Eye Centre, Glasgow and touring, 1977), the first exhibition of arpilleras in Britain.</p>\n<p>Below is a description of each arpillera, identified by the descriptive summary provided by the Bretts. The titles are largely descriptive ones that have been assigned to the works for the purpose of identification, since few of the arpilleras would have been formally titled by their makers:</p>\n<p><span>T14998</span> [Personal Development Workshop] depicts one of the educational workshops that the Catholic Church ran for impoverished citizens. The one in question focuses on marital relationships, and shows many hands raising to contribute to the discussion of ‘What I expect from my partner’ and ‘What my partner expects from me’, as written up on the wall.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t14999\" title=\"View the details of this artwork\"><span>T14999</span></a> [The children and the mother are crying…] presents in the foreground a woman crying and preventing her drunk husband from entering their home. Inside the building, their children are awake and crying in response to the violence threatening their household.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15000\" title=\"View the details of this artwork\"><span>T15000</span></a> [<i>Sexualida</i> (Personal Development Workshop)] illustrates an educational workshop, focusing on sexuality (‘sexualidad’ in Spanish), a word that appears partially written on the blackboard portrayed in this arpillera. A note that accompanies the arpillera reads, in translation, ‘This patchwork represents our group when we received the theme of sexuality; for me it was a very hard moment because one never cares to address this issue and for me the moment when I discovered it was the most important one because I cried a lot when I realised that the most important fault in my marriage was sexual relationship. It is very relevant to learn about these issues because one learns to know one’s body and its parts by name.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15001\" title=\"View the details of this artwork\"><span>T15001</span></a> [Communal Meal] pictures a public canteen. A group of villagers sit at a large table waiting to be served their meal that is being heated. In the foreground, a line of women queue. They carry miniature plastic bags containing real grains of rice, lentils and dried pasta.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15002\" title=\"View the details of this artwork\"><span>T15002</span></a> [Working in the field] depicts a rural area close to the mountains. Several workers tend a field surrounded by fencing. A woman waters her garden. Children play outside their houses and transport water. One of the houses presents a door that can be opened by the viewer.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15003\" title=\"View the details of this artwork\"><span>T15003</span></a> [Neighbourhood] makes reference to the limited electricity provided to the shantytowns of Santiago. This arpillera presents many electric wires in front of the shanty buildings and three electrical poles marked with a red X, one of which is being climbed by a man with a ladder. Below him, another man stands by a car that reads ‘CHILECTR…’ which is likely the name of the privatised electrical company undertaking the works.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15004\" title=\"View the details of this artwork\"><span>T15004</span></a> [Rainy Street] illustrates a rainy landscape where a group of women strolls through an avenue that divides a wealthy part of the city – indicated by multi-storey buildings – and a shantytown village. In the middle of the avenue a street seller advertises his merchandise. The scene is covered by an intermittent white thread representing a heavy rain.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15005\" title=\"View the details of this artwork\"><span>T15005</span></a> [Nunca te entregues ni te apartes del camino] presents the revolutionary motto ‘Never surrender or stray from the path’. The arpillera illustrates this motto with a path leading to a shining sun followed by a group of five doves. On the back of this arpillera the sentence ‘No se vende’ (Not for sale) and the name Matta are written in black pen, indicating that the arpillera used to be owned by the Chilean painter Roberto Matta (1911–2002), who subsequently gave it to Guy Brett.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15006\" title=\"View the details of this artwork\"><span>T15006</span></a> [<i>Nosotros nos reunimos</i> (We get together)] portrays a community meeting being interrupted by police. The meeting takes place in a building labelled ‘Comite Hirma 2’ (Hirma Comittee 2) that features a sign outside that reads, ‘Hoy reunion sobre problemas de agua y luz’ (Meeting today about the water and electricity problems). In the scene two policemen are holding batons and standing in front of the door of the ‘Comite’ building.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15007\" title=\"View the details of this artwork\"><span>T15007</span></a> [Street scene] represents another shantytown scene. In the foreground a group of villagers queue to get water from a public water supplier and in the background women dry their clothes.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15008\" title=\"View the details of this artwork\"><span>T15008</span></a> [A supermarket that also had to close its doors] displays a textile shop and a food market, each with very little stock and a line of people queuing. A note with the arpillera reads, ‘This is a central street where people line up to shop and there are no sales’. The arpillera includes a typewritten note pinned to the top left side that reads, ‘A supermarket that also had to close its doors. They were selling very little and went bankrupt.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15009\" title=\"View the details of this artwork\"><span>T15009</span></a> [Attempt at perspective] presents an aerial view of a street with a central pathway surrounded by humble houses on both sides. A typewritten note in English reads, ‘A street scene – and an attempt at perspective.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15010\" title=\"View the details of this artwork\"><span>T15010</span></a> [<i>Taller de arpillera</i> (Arpillera Workshop)] is a depiction of an arpillera-making workshop, such as those organised by the Catholic Church. Women sit at a big table, arranging scraps of fabric. The title <i>Taller de arpillera</i> (Arpillera workshop) is stitched above the scene, with a mountain range view – characteristic of the Chilean landscape – in the background.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15011\" title=\"View the details of this artwork\"><span>T15011</span></a> [A Closed Factory] shows a group of people gathering outside three houses. The arpillera is accompanied by two notes: one handwritten note reads ‘industria cerrada’ (factory closed), and a note pinned to the top left side, typewritten in English, reads, ‘A closed factory. Men and women are left without work.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15012\" title=\"View the details of this artwork\"><span>T15012</span></a> [Three-storey houses] depicts a main road running diagonally from right to left. At both sides of the road, a three-storey house is depicted next to a humble one-storey shack. The arpillera has a note pinned to the top left side, typewritten in English that reads, ‘The three storey houses must denote those of well-to-do people. All the houses in the poblaciones are one storey only.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15013\" title=\"View the details of this artwork\"><span>T15013</span></a> [Female villager] differs from most of the arpilleras in this collection because of its portrait orientation and because it is made from burlap sack. It depicts the bustling life of the neighbourhood. A handwritten descriptive note pinned to the back reads, ‘2nd. Job of a female villager. Multiple workshops. Up, cat walking on the rooftop. Master working with ladder at hand. Female villagers with working sacks. The doors and windows of the different workshops open up with people behind them. Electricity posts and cables. Pallet truck to carry material.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15014\" title=\"View the details of this artwork\"><span>T15014</span></a> [Street scene] depicts a street scene but differs from most of the arpilleras in this collection because of its portrait orientation and by the fact that it appears to be signed by its maker, the name ‘Clara M.’ being embroidered name in the bottom right corner.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15015\" title=\"View the details of this artwork\"><span>T15015</span></a> [Canteen] shows three women fetching water while men head towards a canteen. The arpillera is accompanied by two notes: one handwritten note kept in a pocket on the back of the cloth reads, ‘Poblacion y cantina. Aduana’ (Village and Canteen. Customs); and a typewritten note written in English and pinned to the top left side of the front that reads, ‘In the majority of the “poblaciones” the women have to go and get water at a common faucet. There is no safe supply of drinking water.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15016\" title=\"View the details of this artwork\"><span>T15016</span></a> [The factory is closed] illustrates a group of workers standing outside a factory. The arpillera has a note pinned to the top left side, typewritten in English, that reads, ‘The factory is closed. Men are unemployed.’</p>\n<p><span>T15017</span> [The Doctors] shows a group of villagers, including an extremely thin woman, standing by a doorway. The arpillera is accompanied by a fragment of a handwritten note and a typed note pinned to the top left side, typewritten in English, that reads, ‘Two doctors go to visit the daughter of a woman suffering from an advanced state of malnutrition.’</p>\n<p>\n<b>Further reading</b>\n<br/>Guy Brett, <i>We Want People to Know the Truth. Patchwork Pictures from Chile</i>, exhibition catalogue, Third Eye, Glasgow and touring 1977.<br/>Guy Brett, <i>Through Our Own Eyes: Popular Art and Modern History</i>, London 1986.<br/>Marjorie Agosin, <i>Scraps of Life: Chilean Arpilleras, Chilean Women and the Pinochet Dictatorship</i>, Toronto 1987.</p>\n<p>Michael Wellen, Fiontán Moran, Alice Ongaro and Sol Polo<br/>January 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-12-01T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Cotton fabric, linen and wool on cotton, ink on paper and pin	[ { "append_role_to_name": false, "date": "", "fc": "Unknown woman artist, Chile", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/unknown-woman-artist-chile-27644" } ]	120,739	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 256314, "shortTitle": "Arpilleras: group of 20 patchwork pictures from Chile" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,970	Unknown woman artist, Chile		2,018		[]	Presented by Guy Brett and Alejandra Altamirano 2018	T15016	{ "id": 8, "meta": { "type": "art.Classification" } }			1000049 1000002	Unknown woman artist, Chile	1,970	[]	<p>This work is one of a group of textile works in Tate’s collection by unknown Chilean female artists (Tate T14998–T15017). Known as <span>arpilleras</span>, which literally means ‘burlap’ in Spanish, these historic patchworks represent a popular form of artistic expression and political resistance that emerged in Latin America in the twentieth century. They were created in the 1970s by women from Chile’s most economically underprivileged population. Generally the artists remained anonymous because of the political subject matter of their work.</p>	false	1	https://media.tate.org.u…15/T15016_10.jpg	27644	sculpture cotton fabric linen wool ink paper pin	[]	[no title]	1,970	Tate	1970s		CLEARED	8	object: 410 × 491 mm	accessioned work	Tate	Presented by Guy Brett and Alejandra Altamirano 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This work is one of a group of textile works in Tate’s collection by unknown Chilean female artists (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t14998\" title=\"View the details of this artwork\"><span>T14998</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15017\" title=\"View the details of this artwork\"><span>T15017</span></a>). Known as <i>arpilleras</i>, which literally means ‘burlap’ in Spanish, these historic patchworks represent a popular form of artistic expression and political resistance that emerged in Latin America in the twentieth century. They were created in the 1970s by women from Chile’s most economically underprivileged population. Generally the artists remained anonymous because of the political subject matter of their work. </p>\n<p>These arpilleras depict scenes of daily life in shantytowns during the military regime of General Augusto Pinochet, who held power from 1973 to 1990. Despite their brightly coloured compositions, arpilleras often comment with unvarnished candour on government repression and kidnappings, lack of employment and everyday struggles for survival. In some cases, the artists used the clothing of disappeared family members to construct their imagery. In addition to clothes, some artists included non-fabric materials to enliven the scene and further establish its relationship to lived reality. These works were produced in workshops organised by the Catholic Church and sold abroad to raise awareness of living conditions under the dictatorship, and to provide a source of income for the families of disappeared citizens, political prisoners and members of impoverished communities. A number of the arpilleras address a range of topical themes that include welfare, education, employment and city life, while others feature inspirational aphorisms such as ‘Never surrender or stray from the path’. Several of these textiles also include pockets with notes written by the artist that describe the scene or relay a message.</p>\n<p>Tate’s collection of twenty arpilleras was assembled by curator and writer Guy Brett and his wife Alejandra, whose father was a leader in President Salvador Allende’s government that was overthrown by Pinochet in 1973. The couple was deeply invested in finding ways to aid anti-authoritarian and humanitarian causes in Chile from abroad. They presented these arpilleras to Tate in 2018.</p>\n<p>A number of the arpilleras also include typewritten notes in English that come from when they were included in Guy Brett’s exhibition <i>We Want People to Know the Truth. Patchwork Pictures from Chile</i> (Third Eye Centre, Glasgow and touring, 1977), the first exhibition of arpilleras in Britain.</p>\n<p>Below is a description of each arpillera, identified by the descriptive summary provided by the Bretts. The titles are largely descriptive ones that have been assigned to the works for the purpose of identification, since few of the arpilleras would have been formally titled by their makers:</p>\n<p><span>T14998</span> [Personal Development Workshop] depicts one of the educational workshops that the Catholic Church ran for impoverished citizens. The one in question focuses on marital relationships, and shows many hands raising to contribute to the discussion of ‘What I expect from my partner’ and ‘What my partner expects from me’, as written up on the wall.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t14999\" title=\"View the details of this artwork\"><span>T14999</span></a> [The children and the mother are crying…] presents in the foreground a woman crying and preventing her drunk husband from entering their home. Inside the building, their children are awake and crying in response to the violence threatening their household.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15000\" title=\"View the details of this artwork\"><span>T15000</span></a> [<i>Sexualida</i> (Personal Development Workshop)] illustrates an educational workshop, focusing on sexuality (‘sexualidad’ in Spanish), a word that appears partially written on the blackboard portrayed in this arpillera. A note that accompanies the arpillera reads, in translation, ‘This patchwork represents our group when we received the theme of sexuality; for me it was a very hard moment because one never cares to address this issue and for me the moment when I discovered it was the most important one because I cried a lot when I realised that the most important fault in my marriage was sexual relationship. It is very relevant to learn about these issues because one learns to know one’s body and its parts by name.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15001\" title=\"View the details of this artwork\"><span>T15001</span></a> [Communal Meal] pictures a public canteen. A group of villagers sit at a large table waiting to be served their meal that is being heated. In the foreground, a line of women queue. They carry miniature plastic bags containing real grains of rice, lentils and dried pasta.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15002\" title=\"View the details of this artwork\"><span>T15002</span></a> [Working in the field] depicts a rural area close to the mountains. Several workers tend a field surrounded by fencing. A woman waters her garden. Children play outside their houses and transport water. One of the houses presents a door that can be opened by the viewer.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15003\" title=\"View the details of this artwork\"><span>T15003</span></a> [Neighbourhood] makes reference to the limited electricity provided to the shantytowns of Santiago. This arpillera presents many electric wires in front of the shanty buildings and three electrical poles marked with a red X, one of which is being climbed by a man with a ladder. Below him, another man stands by a car that reads ‘CHILECTR…’ which is likely the name of the privatised electrical company undertaking the works.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15004\" title=\"View the details of this artwork\"><span>T15004</span></a> [Rainy Street] illustrates a rainy landscape where a group of women strolls through an avenue that divides a wealthy part of the city – indicated by multi-storey buildings – and a shantytown village. In the middle of the avenue a street seller advertises his merchandise. The scene is covered by an intermittent white thread representing a heavy rain.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15005\" title=\"View the details of this artwork\"><span>T15005</span></a> [Nunca te entregues ni te apartes del camino] presents the revolutionary motto ‘Never surrender or stray from the path’. The arpillera illustrates this motto with a path leading to a shining sun followed by a group of five doves. On the back of this arpillera the sentence ‘No se vende’ (Not for sale) and the name Matta are written in black pen, indicating that the arpillera used to be owned by the Chilean painter Roberto Matta (1911–2002), who subsequently gave it to Guy Brett.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15006\" title=\"View the details of this artwork\"><span>T15006</span></a> [<i>Nosotros nos reunimos</i> (We get together)] portrays a community meeting being interrupted by police. The meeting takes place in a building labelled ‘Comite Hirma 2’ (Hirma Comittee 2) that features a sign outside that reads, ‘Hoy reunion sobre problemas de agua y luz’ (Meeting today about the water and electricity problems). In the scene two policemen are holding batons and standing in front of the door of the ‘Comite’ building.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15007\" title=\"View the details of this artwork\"><span>T15007</span></a> [Street scene] represents another shantytown scene. In the foreground a group of villagers queue to get water from a public water supplier and in the background women dry their clothes.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15008\" title=\"View the details of this artwork\"><span>T15008</span></a> [A supermarket that also had to close its doors] displays a textile shop and a food market, each with very little stock and a line of people queuing. A note with the arpillera reads, ‘This is a central street where people line up to shop and there are no sales’. The arpillera includes a typewritten note pinned to the top left side that reads, ‘A supermarket that also had to close its doors. They were selling very little and went bankrupt.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15009\" title=\"View the details of this artwork\"><span>T15009</span></a> [Attempt at perspective] presents an aerial view of a street with a central pathway surrounded by humble houses on both sides. A typewritten note in English reads, ‘A street scene – and an attempt at perspective.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15010\" title=\"View the details of this artwork\"><span>T15010</span></a> [<i>Taller de arpillera</i> (Arpillera Workshop)] is a depiction of an arpillera-making workshop, such as those organised by the Catholic Church. Women sit at a big table, arranging scraps of fabric. The title <i>Taller de arpillera</i> (Arpillera workshop) is stitched above the scene, with a mountain range view – characteristic of the Chilean landscape – in the background.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15011\" title=\"View the details of this artwork\"><span>T15011</span></a> [A Closed Factory] shows a group of people gathering outside three houses. The arpillera is accompanied by two notes: one handwritten note reads ‘industria cerrada’ (factory closed), and a note pinned to the top left side, typewritten in English, reads, ‘A closed factory. Men and women are left without work.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15012\" title=\"View the details of this artwork\"><span>T15012</span></a> [Three-storey houses] depicts a main road running diagonally from right to left. At both sides of the road, a three-storey house is depicted next to a humble one-storey shack. The arpillera has a note pinned to the top left side, typewritten in English that reads, ‘The three storey houses must denote those of well-to-do people. All the houses in the poblaciones are one storey only.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15013\" title=\"View the details of this artwork\"><span>T15013</span></a> [Female villager] differs from most of the arpilleras in this collection because of its portrait orientation and because it is made from burlap sack. It depicts the bustling life of the neighbourhood. A handwritten descriptive note pinned to the back reads, ‘2nd. Job of a female villager. Multiple workshops. Up, cat walking on the rooftop. Master working with ladder at hand. Female villagers with working sacks. The doors and windows of the different workshops open up with people behind them. Electricity posts and cables. Pallet truck to carry material.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15014\" title=\"View the details of this artwork\"><span>T15014</span></a> [Street scene] depicts a street scene but differs from most of the arpilleras in this collection because of its portrait orientation and by the fact that it appears to be signed by its maker, the name ‘Clara M.’ being embroidered name in the bottom right corner.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15015\" title=\"View the details of this artwork\"><span>T15015</span></a> [Canteen] shows three women fetching water while men head towards a canteen. The arpillera is accompanied by two notes: one handwritten note kept in a pocket on the back of the cloth reads, ‘Poblacion y cantina. Aduana’ (Village and Canteen. Customs); and a typewritten note written in English and pinned to the top left side of the front that reads, ‘In the majority of the “poblaciones” the women have to go and get water at a common faucet. There is no safe supply of drinking water.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15016\" title=\"View the details of this artwork\"><span>T15016</span></a> [The factory is closed] illustrates a group of workers standing outside a factory. The arpillera has a note pinned to the top left side, typewritten in English, that reads, ‘The factory is closed. Men are unemployed.’</p>\n<p><span>T15017</span> [The Doctors] shows a group of villagers, including an extremely thin woman, standing by a doorway. The arpillera is accompanied by a fragment of a handwritten note and a typed note pinned to the top left side, typewritten in English, that reads, ‘Two doctors go to visit the daughter of a woman suffering from an advanced state of malnutrition.’</p>\n<p>\n<b>Further reading</b>\n<br/>Guy Brett, <i>We Want People to Know the Truth. Patchwork Pictures from Chile</i>, exhibition catalogue, Third Eye, Glasgow and touring 1977.<br/>Guy Brett, <i>Through Our Own Eyes: Popular Art and Modern History</i>, London 1986.<br/>Marjorie Agosin, <i>Scraps of Life: Chilean Arpilleras, Chilean Women and the Pinochet Dictatorship</i>, Toronto 1987.</p>\n<p>Michael Wellen, Fiontán Moran, Alice Ongaro and Sol Polo<br/>January 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-12-01T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Cotton, linen and wool on cotton; ink on paper and pin	[ { "append_role_to_name": false, "date": "", "fc": "Unknown woman artist, Chile", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/unknown-woman-artist-chile-27644" } ]	120,750	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 256314, "shortTitle": "Arpilleras: group of 20 patchwork pictures from Chile" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,970	Unknown woman artist, Chile		2,018		[]	Presented by Guy Brett and Alejandra Altamirano 2018	T15017	{ "id": 8, "meta": { "type": "art.Classification" } }			1000049 1000002	Unknown woman artist, Chile	1,970	[]	<p>This work is one of a group of textile works in Tate’s collection by unknown Chilean female artists (Tate T14998–T15017). Known as <span>arpilleras</span>, which literally means ‘burlap’ in Spanish, these historic patchworks represent a popular form of artistic expression and political resistance that emerged in Latin America in the twentieth century. They were created in the 1970s by women from Chile’s most economically underprivileged population. Generally the artists remained anonymous because of the political subject matter of their work.</p>	false	1	https://media.tate.org.u…15/T15017_10.jpg	27644	sculpture cotton linen wool ink paper pin	[ { "artistRoomsTour": false, "dateText": "25 November 2019 – 19 July 2020", "endDate": "2020-07-19", "exhibitionLegs": [ { "dateText": "25 November 2019 – 19 July 2020", "endDate": "2020-07-19", "id": 13590, "startDate": "2019-11-25", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11206, "startDate": "2019-11-25", "title": "1973 Display", "type": "Collection based display" } ]	[no title]	1,970	Tate	1970s		CLEARED	8	object: 364 × 485 mm	accessioned work	Tate	Presented by Guy Brett and Alejandra Altamirano 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This work is one of a group of textile works in Tate’s collection by unknown Chilean female artists (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t14998\" title=\"View the details of this artwork\"><span>T14998</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15017\" title=\"View the details of this artwork\"><span>T15017</span></a>). Known as <i>arpilleras</i>, which literally means ‘burlap’ in Spanish, these historic patchworks represent a popular form of artistic expression and political resistance that emerged in Latin America in the twentieth century. They were created in the 1970s by women from Chile’s most economically underprivileged population. Generally the artists remained anonymous because of the political subject matter of their work. </p>\n<p>These arpilleras depict scenes of daily life in shantytowns during the military regime of General Augusto Pinochet, who held power from 1973 to 1990. Despite their brightly coloured compositions, arpilleras often comment with unvarnished candour on government repression and kidnappings, lack of employment and everyday struggles for survival. In some cases, the artists used the clothing of disappeared family members to construct their imagery. In addition to clothes, some artists included non-fabric materials to enliven the scene and further establish its relationship to lived reality. These works were produced in workshops organised by the Catholic Church and sold abroad to raise awareness of living conditions under the dictatorship, and to provide a source of income for the families of disappeared citizens, political prisoners and members of impoverished communities. A number of the arpilleras address a range of topical themes that include welfare, education, employment and city life, while others feature inspirational aphorisms such as ‘Never surrender or stray from the path’. Several of these textiles also include pockets with notes written by the artist that describe the scene or relay a message.</p>\n<p>Tate’s collection of twenty arpilleras was assembled by curator and writer Guy Brett and his wife Alejandra, whose father was a leader in President Salvador Allende’s government that was overthrown by Pinochet in 1973. The couple was deeply invested in finding ways to aid anti-authoritarian and humanitarian causes in Chile from abroad. They presented these arpilleras to Tate in 2018.</p>\n<p>A number of the arpilleras also include typewritten notes in English that come from when they were included in Guy Brett’s exhibition <i>We Want People to Know the Truth. Patchwork Pictures from Chile</i> (Third Eye Centre, Glasgow and touring, 1977), the first exhibition of arpilleras in Britain.</p>\n<p>Below is a description of each arpillera, identified by the descriptive summary provided by the Bretts. The titles are largely descriptive ones that have been assigned to the works for the purpose of identification, since few of the arpilleras would have been formally titled by their makers:</p>\n<p><span>T14998</span> [Personal Development Workshop] depicts one of the educational workshops that the Catholic Church ran for impoverished citizens. The one in question focuses on marital relationships, and shows many hands raising to contribute to the discussion of ‘What I expect from my partner’ and ‘What my partner expects from me’, as written up on the wall.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t14999\" title=\"View the details of this artwork\"><span>T14999</span></a> [The children and the mother are crying…] presents in the foreground a woman crying and preventing her drunk husband from entering their home. Inside the building, their children are awake and crying in response to the violence threatening their household.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15000\" title=\"View the details of this artwork\"><span>T15000</span></a> [<i>Sexualida</i> (Personal Development Workshop)] illustrates an educational workshop, focusing on sexuality (‘sexualidad’ in Spanish), a word that appears partially written on the blackboard portrayed in this arpillera. A note that accompanies the arpillera reads, in translation, ‘This patchwork represents our group when we received the theme of sexuality; for me it was a very hard moment because one never cares to address this issue and for me the moment when I discovered it was the most important one because I cried a lot when I realised that the most important fault in my marriage was sexual relationship. It is very relevant to learn about these issues because one learns to know one’s body and its parts by name.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15001\" title=\"View the details of this artwork\"><span>T15001</span></a> [Communal Meal] pictures a public canteen. A group of villagers sit at a large table waiting to be served their meal that is being heated. In the foreground, a line of women queue. They carry miniature plastic bags containing real grains of rice, lentils and dried pasta.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15002\" title=\"View the details of this artwork\"><span>T15002</span></a> [Working in the field] depicts a rural area close to the mountains. Several workers tend a field surrounded by fencing. A woman waters her garden. Children play outside their houses and transport water. One of the houses presents a door that can be opened by the viewer.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15003\" title=\"View the details of this artwork\"><span>T15003</span></a> [Neighbourhood] makes reference to the limited electricity provided to the shantytowns of Santiago. This arpillera presents many electric wires in front of the shanty buildings and three electrical poles marked with a red X, one of which is being climbed by a man with a ladder. Below him, another man stands by a car that reads ‘CHILECTR…’ which is likely the name of the privatised electrical company undertaking the works.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15004\" title=\"View the details of this artwork\"><span>T15004</span></a> [Rainy Street] illustrates a rainy landscape where a group of women strolls through an avenue that divides a wealthy part of the city – indicated by multi-storey buildings – and a shantytown village. In the middle of the avenue a street seller advertises his merchandise. The scene is covered by an intermittent white thread representing a heavy rain.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15005\" title=\"View the details of this artwork\"><span>T15005</span></a> [Nunca te entregues ni te apartes del camino] presents the revolutionary motto ‘Never surrender or stray from the path’. The arpillera illustrates this motto with a path leading to a shining sun followed by a group of five doves. On the back of this arpillera the sentence ‘No se vende’ (Not for sale) and the name Matta are written in black pen, indicating that the arpillera used to be owned by the Chilean painter Roberto Matta (1911–2002), who subsequently gave it to Guy Brett.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15006\" title=\"View the details of this artwork\"><span>T15006</span></a> [<i>Nosotros nos reunimos</i> (We get together)] portrays a community meeting being interrupted by police. The meeting takes place in a building labelled ‘Comite Hirma 2’ (Hirma Comittee 2) that features a sign outside that reads, ‘Hoy reunion sobre problemas de agua y luz’ (Meeting today about the water and electricity problems). In the scene two policemen are holding batons and standing in front of the door of the ‘Comite’ building.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15007\" title=\"View the details of this artwork\"><span>T15007</span></a> [Street scene] represents another shantytown scene. In the foreground a group of villagers queue to get water from a public water supplier and in the background women dry their clothes.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15008\" title=\"View the details of this artwork\"><span>T15008</span></a> [A supermarket that also had to close its doors] displays a textile shop and a food market, each with very little stock and a line of people queuing. A note with the arpillera reads, ‘This is a central street where people line up to shop and there are no sales’. The arpillera includes a typewritten note pinned to the top left side that reads, ‘A supermarket that also had to close its doors. They were selling very little and went bankrupt.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15009\" title=\"View the details of this artwork\"><span>T15009</span></a> [Attempt at perspective] presents an aerial view of a street with a central pathway surrounded by humble houses on both sides. A typewritten note in English reads, ‘A street scene – and an attempt at perspective.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15010\" title=\"View the details of this artwork\"><span>T15010</span></a> [<i>Taller de arpillera</i> (Arpillera Workshop)] is a depiction of an arpillera-making workshop, such as those organised by the Catholic Church. Women sit at a big table, arranging scraps of fabric. The title <i>Taller de arpillera</i> (Arpillera workshop) is stitched above the scene, with a mountain range view – characteristic of the Chilean landscape – in the background.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15011\" title=\"View the details of this artwork\"><span>T15011</span></a> [A Closed Factory] shows a group of people gathering outside three houses. The arpillera is accompanied by two notes: one handwritten note reads ‘industria cerrada’ (factory closed), and a note pinned to the top left side, typewritten in English, reads, ‘A closed factory. Men and women are left without work.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15012\" title=\"View the details of this artwork\"><span>T15012</span></a> [Three-storey houses] depicts a main road running diagonally from right to left. At both sides of the road, a three-storey house is depicted next to a humble one-storey shack. The arpillera has a note pinned to the top left side, typewritten in English that reads, ‘The three storey houses must denote those of well-to-do people. All the houses in the poblaciones are one storey only.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15013\" title=\"View the details of this artwork\"><span>T15013</span></a> [Female villager] differs from most of the arpilleras in this collection because of its portrait orientation and because it is made from burlap sack. It depicts the bustling life of the neighbourhood. A handwritten descriptive note pinned to the back reads, ‘2nd. Job of a female villager. Multiple workshops. Up, cat walking on the rooftop. Master working with ladder at hand. Female villagers with working sacks. The doors and windows of the different workshops open up with people behind them. Electricity posts and cables. Pallet truck to carry material.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15014\" title=\"View the details of this artwork\"><span>T15014</span></a> [Street scene] depicts a street scene but differs from most of the arpilleras in this collection because of its portrait orientation and by the fact that it appears to be signed by its maker, the name ‘Clara M.’ being embroidered name in the bottom right corner.</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15015\" title=\"View the details of this artwork\"><span>T15015</span></a> [Canteen] shows three women fetching water while men head towards a canteen. The arpillera is accompanied by two notes: one handwritten note kept in a pocket on the back of the cloth reads, ‘Poblacion y cantina. Aduana’ (Village and Canteen. Customs); and a typewritten note written in English and pinned to the top left side of the front that reads, ‘In the majority of the “poblaciones” the women have to go and get water at a common faucet. There is no safe supply of drinking water.’</p>\n<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/unknown-woman-artist-chile-no-title-t15016\" title=\"View the details of this artwork\"><span>T15016</span></a> [The factory is closed] illustrates a group of workers standing outside a factory. The arpillera has a note pinned to the top left side, typewritten in English, that reads, ‘The factory is closed. Men are unemployed.’</p>\n<p><span>T15017</span> [The Doctors] shows a group of villagers, including an extremely thin woman, standing by a doorway. The arpillera is accompanied by a fragment of a handwritten note and a typed note pinned to the top left side, typewritten in English, that reads, ‘Two doctors go to visit the daughter of a woman suffering from an advanced state of malnutrition.’</p>\n<p>\n<b>Further reading</b>\n<br/>Guy Brett, <i>We Want People to Know the Truth. Patchwork Pictures from Chile</i>, exhibition catalogue, Third Eye, Glasgow and touring 1977.<br/>Guy Brett, <i>Through Our Own Eyes: Popular Art and Modern History</i>, London 1986.<br/>Marjorie Agosin, <i>Scraps of Life: Chilean Arpilleras, Chilean Women and the Pinochet Dictatorship</i>, Toronto 1987.</p>\n<p>Michael Wellen, Fiontán Moran, Alice Ongaro and Sol Polo<br/>January 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-12-01T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Oil paint on canvas	[ { "append_role_to_name": false, "date": "born 1925", "fc": "Ida Cadorin Barbarigo", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/ida-cadorin-barbarigo-26726" } ]	120,752	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,961	<a href="https://www.tate.org.uk/art/artists/ida-cadorin-barbarigo-26726" aria-label="More by Ida Cadorin Barbarigo" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Ida Cadorin Barbarigo</a>	Open Game	2,018		[]	Purchased with funds provided by Tate International Council, Pontus Bonnier, Tiqui Atencio Demirdjian and Ago Demirdjian, Candida and Zak Gertler, Mrs Susan Hayden, Pamela J Joyner, Catherine Lagrange, Fayeeza Naqvi, The Rennie Foundation and Mercedes Vilardell 2018	T15019	{ "id": 6, "meta": { "type": "art.Classification" } }			7018159 7003006 7002997 1000080	Ida Cadorin Barbarigo	1,961	[]	<p><span>Open Game</span> (Jeu ouvert) 1961 is an abstract oil painting in which broad brushstrokes are alternated with thin swirling lines, filling the entire surface. Barbarigo used a limited palette in this kind of abstract canvas. Here, black and white dominate, with occasional red touches, over an off-white background. As the title suggests, this painting conveys a sense of playful experimentation and improvisation; nevertheless, each brushstroke appears to have been executed through controlled gestures, following an internal logic and resulting in a balanced overall composition.</p>	false	1	https://media.tate.org.u…T15/T15019_9.jpg	26726	painting oil paint canvas	[ { "artistRoomsTour": false, "dateText": "9 February 2023 – 5 March 2024", "endDate": "2024-03-05", "exhibitionLegs": [ { "dateText": "9 February 2023 – 7 May 2023", "endDate": "2023-05-07", "id": 15018, "startDate": "2023-02-09", "venueName": "Whitechapel Gallery (London, UK)", "venueWebsiteUrl": "http://www.whitechapel.org/" }, { "dateText": "4 June 2023 – 31 October 2023", "endDate": "2023-10-31", "id": 15195, "startDate": "2023-06-04", "venueName": "Fondation Vincent Van Gogh (Arles, France)", "venueWebsiteUrl": null }, { "dateText": "2 December 2023 – 5 March 2024", "endDate": "2024-03-05", "id": 15359, "startDate": "2023-12-02", "venueName": "Kunsthalle Bielefeld (Bielefeld, Germany)", "venueWebsiteUrl": "http://www.kunsthalle-bielefeld.de" } ], "id": 12351, "startDate": "2023-02-09", "title": "Women of Expressive Abstraction 1940-1970", "type": "Loan-out" } ]	Open Game	1,961	Tate	1961		CLEARED	6	support: 1463 × 977 mm	accessioned work	Tate	Purchased with funds provided by Tate International Council, Pontus Bonnier, Tiqui Atencio Demirdjian and Ago Demirdjian, Candida and Zak Gertler, Mrs Susan Hayden, Pamela J Joyner, Catherine Lagrange, Fayeeza Naqvi, The Rennie Foundation and Mercedes Vilardell 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Open Game</i> (Jeu ouvert) 1961 is an abstract oil painting in which broad brushstrokes are alternated with thin swirling lines, filling the entire surface. Barbarigo used a limited palette in this kind of abstract canvas. Here, black and white dominate, with occasional red touches, over an off-white background. As the title suggests, this painting conveys a sense of playful experimentation and improvisation; nevertheless, each brushstroke appears to have been executed through controlled gestures, following an internal logic and resulting in a balanced overall composition.</p>\n<p>After an early figurative phase, Barbarigo developed an abstract style loosely based on direct observation, particularly of life in the streets of Venice and Paris, where she lived. She would take long walks through these cities, taking notes and making sketches in her notebooks, repeatedly drawing the chairs laid out on the pavements outside every café and bistro. These would then serve as the basis and inspiration for her abstracted painterly compositions, in which carefully arranged lines and colour fields intersect over a neutral background (see for example <i>Tables and Chairs </i>1954 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/cadorin-barbarigo-tables-and-chairs-t14955\" title=\"View the details of this artwork\"><span>T14955</span></a>] and <i>Tables and Chairs II </i>1954 [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/cadorin-barbarigo-tables-and-chairs-ii-t14956\" title=\"View the details of this artwork\"><span>T14956</span></a>]). This geometric style would give way to the more organic abstraction of Barbarigo’s work of the 1960s, as seen in paintings such as <i>Open Game </i>and <i>Promenade </i>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/cadorin-barbarigo-open-game-t15019\" title=\"View the details of this artwork\"><span>T15019</span></a> and <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/cadorin-barbarigo-promenade-t14957\" title=\"View the details of this artwork\"><span>T14957</span></a>). Many of these works are titled <i>Passeggiata </i>or <i>Promenade </i>(respectively Italian and French for ‘walk’ or ‘stroll’); sometimes she used the title <i>Passeggiata Elettrica</i> (‘Electric Stroll’), alluding to what she perceived during her walks as force-fields between objects, the result of tensions between presence and absence, stasis and movement. This interest can be seen in paintings such as <i>Open Game</i>, where the overall composition results from the balance between line and enclosed space and between areas of light and dark.</p>\n<p>Ida Cadorin Barbarigo was born in Venice into a family of artists. She studied at the Fine Arts Academy of Venice in 1946, where she attended classes under her father Guido Cadorin (1892–1976) and the sculptor Arturo Martini (1889–1947). During that time, she met Giorgio de Chirico (1888–1978) and Filippo de Pisis (1896–1956). In 1949 she married the artist Zoran Mušič (1909–2005) and together they settled in Paris in 1952. From then, Barbarigo divided her time between Paris and Venice where she kept her studio. </p>\n<p>\n<b>Further reading</b>\n<br/>Jean Bouret, Jacques Lassaigne et al.,<i> Ida Barbarigo</i>, Paris 1976.<br/>Giovanna Dal Bon, <i>Double Portrait: Zoran Music, Ida Barbarigo</i>, Monza, Italy 2009.<br/>Giovanna Dal Bon, <i>Ida Barbarigo</i>, exhibition catalogue, Axel Vervoordt Gallery, Antwerp 2013.</p>\n<p>Juliette Rizzi and Valentina Ravaglia <br/>June 2016</p>\n</div>\n", "display_name": "Summary", "publication_date": "2024-02-02T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Oil paint on canvas	[ { "append_role_to_name": false, "date": "1919–1986", "fc": "Kikuji Yamashita", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/kikuji-yamashita-20169" } ]	120,754	[ { "id": 999999875, "shortTitle": "Tate Modern" }, { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999872, "shortTitle": "Works on display" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,967	<a href="https://www.tate.org.uk/art/artists/kikuji-yamashita-20169" aria-label="More by Kikuji Yamashita" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Kikuji Yamashita</a>	Deification a Soldier	2,018	Matsurawareru senshi	[ { "map_gallery": "TM", "map_gallery_label": "Tate Modern", "map_level": "TM_02", "map_level_label": "TM Level 2", "map_space": "TMB2E17", "map_space_label": "Tate Modern / B2E17", "map_wing": "TM_E", "map_wing_label": "TM Natalie Bell Building East", "map_zone": "TM_BH", "map_zone_label": "TM Natalie Bell Building", "nid": "451953" } ]	Purchased with funds provided by the Asia-Pacific Acquisitions Committee 2018	T15021	{ "id": 6, "meta": { "type": "art.Classification" } }		42538	7004894 1001035 7000903 1000120 1000004	Kikuji Yamashita	1,967	[ { "archiveItemCount": 1, "id": 184, "level": 1, "name": "abstraction", "parent_id": 1, "workCount": 8614 }, { "archiveItemCount": 413, "id": 177, "level": 2, "name": "actions: expressive", "parent_id": 91, "workCount": 2209 }, { "archiveItemCount": 311, "id": 63, "level": 3, "name": "animals: fantastic", "parent_id": 60, "workCount": 382 }, { "archiveItemCount": 68, "id": 66, "level": 3, "name": "animals: insects & lower animals", "parent_id": 67, "workCount": 186 }, { "archiveItemCount": 858, "id": 67, "level": 3, "name": "animals: mammals", "parent_id": 60, "workCount": 4013 }, { "archiveItemCount": 749, "id": 146, "level": 2, "name": "birth to death", "parent_id": 145, "workCount": 723 }, { "archiveItemCount": 1628, "id": 93, "level": 2, "name": "body", "parent_id": 91, "workCount": 3250 }, { "archiveItemCount": 9, "id": 2568, "level": 3, "name": "butterfly", "parent_id": 66, "workCount": 60 }, { "archiveItemCount": 22, "id": 13683, "level": 3, "name": "chaos", "parent_id": 30, "workCount": 16 }, { "archiveItemCount": 1415, "id": 88, "level": 2, "name": "clothing and personal items", "parent_id": 78, "workCount": 4464 }, { "archiveItemCount": 297, "id": 722, "level": 3, "name": "death", "parent_id": 146, "workCount": 388 }, { "archiveItemCount": 3337, "id": 31, "level": 2, "name": "emotions and human qualities", "parent_id": 29, "workCount": 2008 }, { "archiveItemCount": 5302, "id": 29, "level": 1, "name": "emotions, concepts and ideas", "parent_id": 1, "workCount": 11114 }, { "archiveItemCount": 0, "id": 4577, "level": 3, "name": "entrails", "parent_id": 93, "workCount": 9 }, { "archiveItemCount": 391, "id": 221, "level": 3, "name": "figure", "parent_id": 189, "workCount": 1879 }, { "archiveItemCount": 1, "id": 189, "level": 2, "name": "from recognisable sources", "parent_id": 184, "workCount": 3633 }, { "archiveItemCount": 55, "id": 868, "level": 3, "name": "helmet", "parent_id": 88, "workCount": 217 }, { "archiveItemCount": 3648, "id": 33, "level": 1, "name": "history", "parent_id": 1, "workCount": 2128 }, { "archiveItemCount": 23, "id": 795, "level": 3, "name": "horror", "parent_id": 31, "workCount": 157 }, { "archiveItemCount": 189, "id": 602, "level": 3, "name": "horse", "parent_id": 67, "workCount": 1391 }, { "archiveItemCount": 0, "id": 128, "level": 2, "name": "military", "parent_id": 116, "workCount": 862 }, { "archiveItemCount": 58, "id": 35, "level": 2, "name": "military", "parent_id": 33, "workCount": 243 }, { "archiveItemCount": 137, "id": 1708, "level": 3, "name": "monster", "parent_id": 63, "workCount": 78 }, { "archiveItemCount": 9924, "id": 78, "level": 1, "name": "objects", "parent_id": 1, "workCount": 13647 }, { "archiveItemCount": 0, "id": 91, "level": 1, "name": "people", "parent_id": 1, "workCount": 22072 }, { "archiveItemCount": 4, "id": 791, "level": 3, "name": "screaming", "parent_id": 177, "workCount": 26 }, { "archiveItemCount": 17, "id": 2448, "level": 3, "name": "skull", "parent_id": 93, "workCount": 73 }, { "archiveItemCount": 4671, "id": 158, "level": 2, "name": "social comment", "parent_id": 145, "workCount": 1913 }, { "archiveItemCount": 0, "id": 145, "level": 1, "name": "society", "parent_id": 1, "workCount": 15153 }, { "archiveItemCount": 507, "id": 867, "level": 3, "name": "soldier", "parent_id": 128, "workCount": 697 }, { "archiveItemCount": 42, "id": 12977, "level": 3, "name": "suffering", "parent_id": 31, "workCount": 119 }, { "archiveItemCount": 105, "id": 5446, "level": 3, "name": "uniform / kit", "parent_id": 88, "workCount": 219 }, { "archiveItemCount": 3955, "id": 30, "level": 2, "name": "universal concepts", "parent_id": 29, "workCount": 2432 }, { "archiveItemCount": 3, "id": 12085, "level": 3, "name": "Vietnam War, 1964-75", "parent_id": 35, "workCount": 17 }, { "archiveItemCount": 103, "id": 3592, "level": 3, "name": "war", "parent_id": 158, "workCount": 255 }, { "archiveItemCount": 0, "id": 116, "level": 1, "name": "work and occupations", "parent_id": 1, "workCount": 5453 } ]	<p>The title of this work suggests that a soldier is being worshipped as if he were a god. However, the imagery is chaotic and violent. With screaming mouths, distorted animal forms and disembodied limbs it captures the absurdity of war. The painting was made at the height of the Vietnam War, when there were extensive protests about the United States’ military presence in Japan. It also looks back to Kikuji’s traumatic memories of the Second World War. As a conscript in the Imperial Japanese army, he witnessed many atrocities and took part in the killing of a Chinese prisoner.</p><p><em>Gallery label, January 2019</em></p>	false	1	https://media.tate.org.u…15/T15021_10.jpg	20169	painting oil paint canvas	[ { "artistRoomsTour": false, "dateText": "21 May 2016", "endDate": null, "exhibitionLegs": [ { "dateText": "21 May 2016", "endDate": null, "id": 10292, "startDate": "2016-05-21", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 8506, "startDate": "2016-05-21", "title": "International Surrealism", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "4 October 2021 – 29 August 2022", "endDate": "2022-08-29", "exhibitionLegs": [ { "dateText": "24 February 2022 – 29 August 2022", "endDate": "2022-08-29", "id": 12632, "startDate": "2022-02-24", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 10414, "startDate": "2021-10-04", "title": "Surrealism Beyond Borders", "type": "Exhibition" } ]	Deification of a Soldier	1,967	Tate	1967		CLEARED	6	support: 1310 × 1950 mm frame: 1419 × 2057 × 80 mm	accessioned work	Tate	Purchased with funds provided by the Asia-Pacific Acquisitions Committee 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Deification of a Soldier</i> (Matsurawareru senshi) 1967 is a large-scale oil painting in a mostly grey palette from which spectral forms emerge. The composition is dominated by the almost symmetrical apparition of a two-headed horse, one of which bears the stripes of a zebra; the other wears a bridle, indicating, in contrast, domestication and oppression by mankind. Out of this creature protrude various limbs and ghoulish faces. The motif of disembodied teeth repeats itself across the bottom of this complex configuration, creating an overall impression of a hallucinatory vision or a nightmare. The paint has been applied in thin, translucent layers, enhancing the ethereal themes of the work. This quality, and the imagery of the painting, signifies the beginning of a departure from the hard, graphic style for which Yamashita was best known, and a turn towards abstraction and psychologically darker themes.</p>\n<p>Yamashita was a key artist within ‘Reportage painting’ (<i>Ruporutaju kaiga</i>), a genre that flourished in Japan in the 1950s and 1960s in response to the global Cold War and its devastating impact on the civilian population of Japan. Alongside Nakamura Hiroshi, Ikeda Tatsuo and Ishii Shigeo, Yamashita drew upon his first-hand experiences of war to create dramatic narrative tableaux depicting suffering and interpersonal conflict. Despite the suggestions of fantasy in <i>Deification of a Soldier</i>, various elements root the image in the reality of war – a musket protrudes from the ear of one of the horse’s heads and is directed at a man in a generic red uniform with gold trim, and a skull and a dove wear military helmets. The shape of the latter recalls the distinctive ‘M1’ helmet worn by US Army personnel during the American occupation of Vietnam in the 1950s and 1960s. It is notable that this conflict was experienced by many abroad via photographic reportage, which was used by left-leaning journalists to communicate to the outside world the atrocities committed against Vietnamese civilians, and the vain efforts of the men who been conscripted on both sides. At the time the painting was made, a three-year bombing campaign of North Vietnam was underway. Titled ‘Operation Rolling Thunder’, it resulted in the loss of over 180,000 lives – not including over one thousand servicemen. The title <i>Deification of a Soldier </i>suggests an homage to one who has lost his life in battle, his transmogrification symbolised by the presence of a red butterfly and an egg on the right of the composition. </p>\n<p>Yamashita’s abhorrence of political and social inequality was stimulated from a young age – brought up in a remote village in northern Tokushima, he witnessed first-hand the discrimination of the Burakumin, or ‘outcast’ people, who resided nearby. In 1939, at the age of twenty, Yamashita was conscripted into the Imperial Japanese Army and stationed in China, where he was forced to participate in the execution of a prisoner of war. He later reflected in an article, ‘A Peephole into Discrimination’ (1970), that the trauma of this experience and the inhumanity of war left him with a feeling of deep remorse and helplessness. As a consequence, he was compelled to protest via painting the injustices inflicted by totalitarian regimes.</p>\n<p>Stylistically, Yamashita’s paintings draw upon art historical sources as diverse as Early Netherlandish painting, Japanese Noh theatre and twentieth-century social realism. An interest in surrealism, and specifically the work of Salvador Dalí (1904–1989), is also discernible and can be accounted for by Yamashita’s training under Fukuzawa Ichiro (1898–1992), who had travelled to Paris in the 1920s to study sculpture. Fukuzawa was profoundly inspired by European artists such as Dalí, Max Ernst and Giorgio de Chirico, and evidently passed on this enthusiasm to Yamashita in whose paintings absurd and dreamlike imagery frequently appear.</p>\n<p>\n<b>Further reading</b>\n<br/>Doryun Chong, ‘Tokyo 1955–1970: A New Avant-Garde’, in <i>Tokyo 1955–1970: A New Avant-Garde</i>, exhibition catalogue, The Museum of Modern Art, New York 2012, pp.26–93.<br/>Linda Hoaglund, ‘The Lost Art of Resistance’, <i>Impressions</i>, no.33, 2012, pp.30–41.</p>\n<p>Katy Wan<br/>July 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-05-09T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>The title of this work suggests that a soldier is being worshipped as if he were a god. However, the imagery is chaotic and violent. With screaming mouths, distorted animal forms and disembodied limbs it captures the absurdity of war. The painting was made at the height of the Vietnam War, when there were extensive protests about the United States’ military presence in Japan. It also looks back to Kikuji’s traumatic memories of the Second World War. As a conscript in the Imperial Japanese army, he witnessed many atrocities and took part in the killing of a Chinese prisoner.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2019-01-22T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]	[ "abstraction", "actions: expressive", "animals: fantastic", "animals: insects & lower animals", "animals: mammals", "birth to death", "body", "butterfly", "chaos", "clothing and personal items", "death", "emotions and human qualities", "emotions, concepts and ideas", "entrails", "figure", "from recognisable sources", "helmet", "history", "horror", "horse", "military", "military", "monster", "objects", "people", "screaming", "skull", "social comment", "society", "soldier", "suffering", "uniform / kit", "universal concepts", "Vietnam War, 1964-75", "war", "work and occupations" ]	null	false	177 63 66 67 146 93 2568 13683 88 722 31 4577 221 189 868 795 602 128 35 1708 791 2448 158 867 12977 5446 30 12085 3592	true		artwork
Video on led panel screen, colour and sound	[ { "append_role_to_name": false, "date": "born 1964", "fc": "Philippe Parreno", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/philippe-parreno-9107" } ]	120,755	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	2,013	<a href="https://www.tate.org.uk/art/artists/philippe-parreno-9107" aria-label="More by Philippe Parreno" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Philippe Parreno</a>	TV Channel	2,018		[]	Purchased with assistance from Tate International Council 2016	T15022	{ "id": 10, "meta": { "type": "art.Classification" } }			7001246 1000798 7016752 7001242	Philippe Parreno	2,013	[]	<p><span>TV Channel</span> 2013 is an LED installation with sound. It consists of a selection of six short films, screened one after the other, that were made by the artist over the period 1987 to 2007. The scale and presentation of <span>TV Channel</span> 2013 reference technology used for broadcasting public events such as concerts, football matches and political broadcasts. The sequence of films examine notions of public space, the legacy of monuments, and the relation between moving images, sound and the urban environment. The films are, in chronological order of their making, <span>Fleurs </span>1987, <span>No More Reality, La manifestation </span>1991, <span>Anna </span>1993, <span>Alien Seasons </span>2002, <span>Anywhere Out of the World</span> 2003 and <span>The Writer </span>2007.</p>	false	1	https://media.tate.org.u…T15/T15022_9.jpg	9107	time-based media video led panel screen colour sound	[]	TV Channel	2,013	Tate	2013		CLEARED	10	displayed: 4820 × 3820 mm	accessioned work	Tate	Purchased with assistance from Tate International Council 2016	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>TV Channel</i> 2013 is an LED installation with sound. It consists of a selection of six short films, screened one after the other, that were made by the artist over the period 1987 to 2007. The scale and presentation of <i>TV Channel</i> 2013 reference technology used for broadcasting public events such as concerts, football matches and political broadcasts. The sequence of films examine notions of public space, the legacy of monuments, and the relation between moving images, sound and the urban environment. The films are, in chronological order of their making, <i>Fleurs </i>1987, <i>No More Reality, La manifestation </i>1991, <i>Anna </i>1993, <i>Alien Seasons </i>2002, <i>Anywhere Out of the World</i> 2003 and <i>The Writer </i>2007.</p>\n<p>The work was presented for the first time, with a slightly different selection of films, in the exhibition <i>Philippe Parreno: Anywhere, Anywhere Out of the World</i>, held at Palais de Tokyo, Paris, in 2013. It can be considered a development of the artist’s earlier work <i>TV Channel </i>(<i>We Sit in Front of Stories Like a Player Without a Joystick</i>) 1998, which was presented at the Kunstverein Ludwigsburg that year. In this earlier work the sentence that provides the work’s subtitle<i> </i>was written on adhesive tape and fixed to a wall alongside a screen showing a number of the artist’s videos (or excerpts from them). </p>\n<p>A single sequence depicting a bouquet of flowers, <i>Fleurs</i> 1987 is a silent colour film lasting fifty-two minutes. It was shot on Video 8 and later transferred to U-matic cassette. It is one of Huyghe’s first videos, made while he was a student at the school of fine arts in Grenoble. The video consists of an image of a flower blooming, then fading out of focus and becoming progressively more blurred. Parreno sent copies of the video to television stations across France, accompanied by a letter offering it for broadcast, without any editing or copyright restrictions. The television station Canal+ used a few seconds of it, adding a logo and music, as the background to their weather forecasts.</p>\n<p>The four-minute colour Betacam film<i> No More Reality, La manifestation</i> 1991 is the result of a workshop carried out by the artist in a primary school in Nice. It shows a group of children protesting in a schoolyard and chanting ‘No More Reality’, without knowing precisely what they are demanding. <i>Anna</i> 1993, also four minutes long and shot in colour in Video HI-8, is a single-sequence close-up shot of a newborn baby crying. <i>Alien Seasons</i> 2002, a silent colour film of indeterminate length that was shot on 16 mm film and transferred to digital Betacam, is an underwater sequence of a cuttlefish in its natural environment, appearing and disappearing like an alien presence. It captures the camouflage response of cuttlefish, which change colour and shape in response to external stimuli.</p>\n<p>The four-minute 3D animation on digital Betacam <i>Anywhere Out of the World</i> 2003 is the first episode of the collective project <i>No Ghost Just a Shell </i>1999–2003, which was conceived on collaboration with artist Pierre Huyghe. This project began when Parreno and Huyghe bought the copyright for an ‘anime’ (a figure for cartoons and videogames) from a Japanese agency. They then shared with other artists and creatives, who were invited to use and interpret it freely. <i>Anywhere Out of the World</i> consists of a short sequence showing the manga figure Annlee giving a monologue in which she shares her destiny as a character drawn, bought, liberated from rights, redrawn in 3D and eventually allowed to speak. Three other works from this collaborative project are also in Tate’s collection: the single channel video <i>Anywhere Out of the World</i> 2000 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/parreno-anywhere-out-of-the-world-t14141\" title=\"View the details of this artwork\"><span>T14141</span></a>), the neon work <i>Skin of Light </i>2001 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/huyghe-parreno-skin-of-light-t14140\" title=\"View the details of this artwork\"><span>T14140</span></a>) and the pigment print on paper <i>Untitled (fireworks)</i> 2003 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/parreno-untitled-fireworks-p13607\" title=\"View the details of this artwork\"><span>P13607</span></a>).<i> </i>\n</p>\n<p>The final film that features in <i>TV Channel</i> is <i>The Writer</i> 2007, which was shot on MiniDV cassette in colour and lasts just under four minutes. The film shows a wooden automaton holding a feather pen, writing the sentence ‘What do you believe, your eyes or my words?’ The automaton is a version of one of the first automatons built by Pierre Jacquet-Droz in 1772 on display at the Musée d’Art et d’Histoire of Neuchȃtel. It is yet to complete the task before the camera zooms in on its functioning mechanisms, revealing its true nature as a pre-robot.</p>\n<p>Speaking about his selection of videos for <i>TV Channel</i>, Parreno stated:</p>\n<p class=\"cttext\">\n</p><blockquote>I had the idea to show <i>No More Reality </i>at the Serpentine Gallery [for the show in 2010], but it wasn’t initially meant to be an artwork … We decided to include documents about works, which became works themselves. At the Palais de Tokyo [for the show in 2013], I’ve put some of these video ‘documents’ in <i>TV Channel</i> (2013). These five videos show the kind of stuff you see in documentary footage. <i>No More Reality</i>, for example, is clearly kids protesting. In <i>While...</i> (1995) Dagmar Berghoff presents the news, while articulating a really strong political and theoretical discourse. In <i>Anna</i> (1993), a newborn baby cries for the first time. And the first film I ever made, <i>Fleurs</i> (1987) was sent to a TV station free of copyright with a note asking them to use it however they wanted because it doesn’t mean anything unless you use it. All these works deal with how an image can find its meaning by being broadcast.</blockquote>\n<blockquote>(Parreno in conversation with Carlos Basualdo, in Macel and Marta (eds.) 2013, p.27.)</blockquote>\n<p>On the relationship between the chosen medium for <i>TV Channel </i>(the LED screen), its sculptural presence and the linguistic nature of video images, Parreno further commented:</p>\n<p class=\"cttext\">\n</p><blockquote>We are showing these older films on a big screen at the Palais de Tokyo and the farther away from the screen you are, the more clearly you can see and hear the films. As you get closer to the screen you hear and see more artifacts and get less and less information. That’s why perspective is so interesting. When you are far you can hear and see, but when you are near it all becomes unclear and basically all you can perceive is the materiality of time.</blockquote>\n<blockquote>(Parreno in conversation with Carlos Basualdo, in Macel and Marta (eds.) 2013, p.29.)</blockquote>\n<p>At once a thematic film programme, a solo exhibition and an anthology of work, <i>TV Channel</i> challenges the function of the artwork as well as the conventions of display. The installation engages with the history of conceptual artists engaging with pop culture through video and challenges the role of film within a museum context. In this regard, Parreno has written: ‘Cinema has a natural rapport with time and today this is an important matter in contemporary arts … Why should an artwork always be available? It is easier to produce a video-loop in a museum than to broadcast it daily on television. As we know so well, time is part of a cultural power game’ (Philippe Parreno, ‘Une exposition serait elle un cinéma sans caméra? McNamara, A Film by Liam Gillick’, in <i>Libération</i>, 27–28 May 1995, p.29, trans. by Andrea Lissoni).</p>\n<p>\n<b>Further reading</b>\n<br/>Hans Ulrich Obrist, <i>The Conversation Series: Philippe Parreno</i>, Cologne 2008.<br/>Christine Macel and Karen Marta (eds.), <i>Philippe Parreno</i>, Zurich 2009.<br/>Maria Lind (ed.), <i>Philippe Parreno</i>, Berlin 2010. </p>\n<p>Andrea Lissoni<br/>September 2015</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-09-27T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Oil paint on canvas	[ { "append_role_to_name": false, "date": "1922–2015", "fc": "Albert Irvin OBE RA", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/albert-irvin-obe-ra-1342" } ]	120,757	[ { "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/albert-irvin-obe-ra-1342" aria-label="More by Albert Irvin OBE RA" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Albert Irvin OBE RA</a>	Enclosed	2,018		[]	Accepted by HM Government in lieu of Inheritance Tax from the estates of Albert and Betty Irvin and allocated to Tate 2018	T15024	{ "id": 6, "meta": { "type": "art.Classification" } }			7011781 7008136 7002445 7008591	Albert Irvin OBE RA	1,963	[ { "archiveItemCount": 1, "id": 184, "level": 1, "name": "abstraction", "parent_id": 1, "workCount": 8614 }, { "archiveItemCount": 1, "id": 39635, "level": 3, "name": "colour", "parent_id": 6729, "workCount": 835 }, { "archiveItemCount": 5302, "id": 29, "level": 1, "name": "emotions, concepts and ideas", "parent_id": 1, "workCount": 11114 }, { "archiveItemCount": 391, "id": 221, "level": 3, "name": "figure", "parent_id": 189, "workCount": 1879 }, { "archiveItemCount": 3599, "id": 6729, "level": 2, "name": "formal qualities", "parent_id": 29, "workCount": 8855 }, { "archiveItemCount": 1, "id": 189, "level": 2, "name": "from recognisable sources", "parent_id": 184, "workCount": 3633 }, { "archiveItemCount": 7, "id": 19508, "level": 3, "name": "gestural", "parent_id": 6729, "workCount": 756 } ]	<p><span>Enclosed</span> 1963 is made up of broad, swirling paint marks across a rich field of modulated colour. The dark curls and blocks of paint could be seen as an articulation of a woman’s body, reminiscent of those found in British sculpture of the period by such artists as Kenneth Armitage (1916−2002) and Hubert Dalwood (1924−1976), as well as in paintings by William Scott (1913−1989). Irvin’s primary influence, however, was the painter Peter Lanyon (1918−1964), who he met around 1957 through the artist Nancy Wynne-Jones, a student of Lanyon’s in St Ives.</p>	false	1	https://media.tate.org.u…15/T15024_10.jpg	1342	painting oil paint canvas	[]	Enclosed	1,963	Tate	1963		CLEARED	6	support: 1268 × 1525 mm	accessioned work	Tate	Accepted by HM Government in lieu of Inheritance Tax from the estates of Albert and Betty Irvin and allocated to Tate 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Enclosed</i> 1963 is made up of broad, swirling paint marks across a rich field of modulated colour. The dark curls and blocks of paint could be seen as an articulation of a woman’s body, reminiscent of those found in British sculpture of the period by such artists as Kenneth Armitage (1916−2002) and Hubert Dalwood (1924−1976), as well as in paintings by William Scott (1913−1989). Irvin’s primary influence, however, was the painter Peter Lanyon (1918−1964), who he met around 1957 through the artist Nancy Wynne-Jones, a student of Lanyon’s in St Ives. </p>\n<p>Lanyon provided a model for Irvin’s development of a gestural mode of painting aligned with ‘action painting’, a notion introduced by the American critic Harold Rosenberg in 1952 in which the physical act of painting is emphasised as essential to the finished work. Irvin’s interest in this American movement was further enhanced in 1959 by his transformative experience of seeing the Tate exhibition <i>The New American Painting</i>, an in-depth presentation of abstract expressionism. In that show he would have seen examples of Willem de Kooning’s (1904−1997) <i>Woman</i> series which may have had a direct influence on a work such as <i>Enclosed</i>. The exact intention behind the title of the work is not clear.</p>\n<p>Albert Irvin was one of the leading exponents of a language of expressive abstract painting that emerged in Britain in the wake of the American abstract expressionists − first seen in any depth in London in 1956 − and of their British peers. Irvin first emerged as a public artist in the 1960s, with his first solo exhibitions being in Edinburgh in 1960 followed by two more at the New Art Centre, London, in 1961 and 1963. From the late 1970s he secured a broader reputation for large, brightly coloured, expansive compositions.</p>\n<p>\n<b>Further reading</b>\n<br/>Paul Moorhouse, <i>Albert Irvin: Life to Painting</i>, London 1998.</p>\n<p>Chris Stephens<br/>November 2016</p>\n</div>\n", "display_name": "Summary", "publication_date": "2024-02-02T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[ "abstraction", "colour", "emotions, concepts and ideas", "figure", "formal qualities", "from recognisable sources", "gestural" ]	null	false	39635 221 189 19508	false		artwork
Film, 35mm shown as video, high definition, projection, black and white, sound (stereo)	[ { "append_role_to_name": false, "date": "1907–1988", "fc": "Franciszka Themerson", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/franciszka-themerson-23494" }, { "append_role_to_name": false, "date": "1910–1988", "fc": "Stefan Themerson", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/stefan-themerson-17672" } ]	120,758	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,944	<a href="https://www.tate.org.uk/art/artists/franciszka-themerson-23494" aria-label="More by Franciszka Themerson" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Franciszka Themerson</a>, <a href="https://www.tate.org.uk/art/artists/stefan-themerson-17672" aria-label="More by Stefan Themerson" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Stefan Themerson</a>	Eye and Ear	2,018		[]	Purchased with funds provided by the Russia and Eastern Europe Acquisitions Committee 2018	T15025	{ "id": 10, "meta": { "type": "art.Classification" } }			7007833 1002048 7006366 7011781 7008136 7002445 7008591	Franciszka Themerson, Stefan Themerson	1,944	[]	<p>The Eye and the Ear is the last film by the Themersons. The aim here is to translate sound into image. The film has four parts based on four songs by the Polish composer, Karol Szymanowski to Julian Tuwim’s poem cycle Słopiewnie. Each of the songs results in different sorts of imagery, from geometric forms to patterns of leaves and expanding and contracting waves.</p><p><em>Gallery label, October 2019</em></p>	false	1	https://media.tate.org.u…15/T15025_10.jpg	23494 17672	time-based media film 35mm shown as video high definition projection black white sound stereo	[ { "artistRoomsTour": false, "dateText": "22 July 2019 – 8 November 2020", "endDate": "2020-11-08", "exhibitionLegs": [ { "dateText": "22 July 2019 – 8 November 2020", "endDate": "2020-11-08", "id": 13158, "startDate": "2019-07-22", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 10834, "startDate": "2019-07-22", "title": "Franciszka and Stefan Themerson", "type": "Collection based display" } ]	The Eye and the Ear	1,944	Tate	1944–1945		CLEARED	10	duration: 10min	accessioned work	Tate	Purchased with funds provided by the Russia and Eastern Europe Acquisitions Committee 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>The Eye and the Ear is the last film by the Themersons. The aim here is to translate sound into image. The film has four parts based on four songs by the Polish composer, Karol Szymanowski to Julian Tuwim’s poem cycle Słopiewnie. Each of the songs results in different sorts of imagery, from geometric forms to patterns of leaves and expanding and contracting waves.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2019-10-29T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]	[]	null	false		false		artwork
Plaster, stone, paint, cardboard, resin	[ { "append_role_to_name": false, "date": "1887–1948", "fc": "Kurt Schwitters", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/kurt-schwitters-1912" } ]	120,765	[ { "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" } ]	1,945	<a href="https://www.tate.org.uk/art/artists/kurt-schwitters-1912" aria-label="More by Kurt Schwitters" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Kurt Schwitters</a>	Togetherness	2,018		[]	Purchased with funds provided by Tate International Council, Tate Members and Art Fund 2018	T15026	{ "id": 8, "meta": { "type": "art.Classification" } }			7005289 7011781 7013260 1002450 7003676 7000084 7010221 7008117 7002445 7008591	Kurt Schwitters	1,945	[ { "archiveItemCount": 1, "id": 184, "level": 1, "name": "abstraction", "parent_id": 1, "workCount": 8614 }, { "archiveItemCount": 0, "id": 40617, "level": 3, "name": "assemblage / collage", "parent_id": 6729, "workCount": 47 }, { "archiveItemCount": 306, "id": 225, "level": 3, "name": "colour", "parent_id": 185, "workCount": 2175 }, { "archiveItemCount": 5302, "id": 29, "level": 1, "name": "emotions, concepts and ideas", "parent_id": 1, "workCount": 11114 }, { "archiveItemCount": 3599, "id": 6729, "level": 2, "name": "formal qualities", "parent_id": 29, "workCount": 8855 }, { "archiveItemCount": 7, "id": 19508, "level": 3, "name": "gestural", "parent_id": 6729, "workCount": 756 }, { "archiveItemCount": 97, "id": 796, "level": 3, "name": "irregular forms", "parent_id": 185, "workCount": 1910 }, { "archiveItemCount": 1, "id": 185, "level": 2, "name": "non-representational", "parent_id": 184, "workCount": 6160 }, { "archiveItemCount": 54, "id": 8577, "level": 3, "name": "texture", "parent_id": 6729, "workCount": 412 } ]	<p><span>Untitled (Togetherness)</span> c.1945–7 consists of two vertical, painted forms set into a base made from a found cardboard box filled with plaster. The form on the left is made of plaster and painted dark red on its lower section and yellow on its upper section. The form on the right consists of a sliver of rock, painted red and topped with a white plaster cap, set into a green plastic cylinder. Most of Schwitters’ sculptures consist of single forms and this use of a double form is rare in his work. The juxtaposition of the double standing forms suggests a couple, reflected in the title, <span>Untitled (Togetherness)</span>, given to the work by Schwitters’ partner Edith Thomas.</p>	false	1	https://media.tate.org.u…15/T15026_10.jpg	1912	sculpture plaster stone paint cardboard resin	[ { "artistRoomsTour": false, "dateText": "15 March 2002 – 17 June 2002", "endDate": "2002-06-17", "exhibitionLegs": [ { "dateText": "15 March 2002 – 17 June 2002", "endDate": "2002-06-17", "id": 10, "startDate": "2002-03-15", "venueName": "Kunstforum Wien (Vienna, Austria)", "venueWebsiteUrl": "http://www.kunstforum-wien.at" } ], "id": 22, "startDate": "2002-03-15", "title": "Kurt Schwitters - Retrospective", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "1 May 2004 – 22 August 2004", "endDate": "2004-08-22", "exhibitionLegs": [ { "dateText": "1 May 2004 – 22 August 2004", "endDate": "2004-08-22", "id": 1690, "startDate": "2004-05-01", "venueName": "Kunstmuseum Basel (Basel, Switzerland)", "venueWebsiteUrl": "http://www.kunstmuseumbasel.ch" } ], "id": 1547, "startDate": "2004-05-01", "title": "Schwitters Arp", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "22 October 2010 – 27 November 2011", "endDate": "2011-11-27", "exhibitionLegs": [ { "dateText": "22 October 2010 – 30 January 2011", "endDate": "2011-01-30", "id": 4637, "startDate": "2010-10-22", "venueName": "Menil Collection (Houston, USA)", "venueWebsiteUrl": null }, { "dateText": "26 March 2011 – 26 June 2011", "endDate": "2011-06-26", "id": 5818, "startDate": "2011-03-26", "venueName": "Princeton University Art Museum (Princeton, USA)", "venueWebsiteUrl": "http://www.princetonartmuseum.org" }, { "dateText": "3 August 2011 – 27 November 2011", "endDate": "2011-11-27", "id": 5819, "startDate": "2011-08-03", "venueName": "UC Berkeley Art Museum and Pacific Film Archive (Berkeley, USA)", "venueWebsiteUrl": null } ], "id": 3895, "startDate": "2010-10-22", "title": "Kurt Schwitters: Color and Collage", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "28 January 2013 – 25 August 2013", "endDate": "2013-08-25", "exhibitionLegs": [ { "dateText": "28 January 2013 – 12 May 2013", "endDate": "2013-05-12", "id": 7289, "startDate": "2013-01-28", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" }, { "dateText": "2 June 2013 – 25 August 2013", "endDate": "2013-08-25", "id": 7290, "startDate": "2013-06-02", "venueName": "Sprengel Museum (Hannover, Germany)", "venueWebsiteUrl": null } ], "id": 5962, "startDate": "2013-01-28", "title": "Schwitters in Britain", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "28 January 2013 – 25 August 2013", "endDate": "2013-08-25", "exhibitionLegs": [ { "dateText": "2 June 2013 – 25 August 2013", "endDate": "2013-08-25", "id": 7787, "startDate": "2013-06-02", "venueName": "Sprengel Museum (Hannover, Germany)", "venueWebsiteUrl": null } ], "id": 6362, "startDate": "2013-01-28", "title": "Schwitters and Britain", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "13 May 2013 – 7 April 2019", "endDate": "2019-04-07", "exhibitionLegs": [ { "dateText": "13 May 2013 – 7 April 2019", "endDate": "2019-04-07", "id": 7551, "startDate": "2013-05-13", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 6176, "startDate": "2013-05-13", "title": "Gallery 31", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "5 July 2014 – 5 July 2015", "endDate": "2015-07-05", "exhibitionLegs": [ { "dateText": "5 July 2014 – 5 July 2015", "endDate": "2015-07-05", "id": 8676, "startDate": "2014-07-05", "venueName": "Tate Liverpool (Liverpool, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/liverpool/" } ], "id": 7116, "startDate": "2014-07-05", "title": "Liverpool Biennial", "type": "Collection based display" } ]	Untitled (Togetherness)	1,945	Tate	c.1945–7		CLEARED	8	object: 219 × 95 × 70 mm	accessioned work	Tate	Purchased with funds provided by Tate International Council, <a href="/search?gid=999999973" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Tate Members</a> and Art Fund 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Untitled (Togetherness)</i> c.1945–7 consists of two vertical, painted forms set into a base made from a found cardboard box filled with plaster. The form on the left is made of plaster and painted dark red on its lower section and yellow on its upper section. The form on the right consists of a sliver of rock, painted red and topped with a white plaster cap, set into a green plastic cylinder. Most of Schwitters’ sculptures consist of single forms and this use of a double form is rare in his work. The juxtaposition of the double standing forms suggests a couple, reflected in the title, <i>Untitled (Togetherness)</i>, given to the work by Schwitters’ partner Edith Thomas. </p>\n<p>This work is one of a group of small sculptures combining found objects, plaster and paint which collectively form the most important new development in Schwitters’ art during his time living and working in Britain. He settled in London at the end of 1941, having been released from internment on the Isle of Man in November that year. These small sculptures relate to his site-specific <i>Merz Barn </i>1947–8 (now surviving as the <i>Merz Barn Wall</i>, Hatton Gallery, Newcastle Upon Tyne) – a plaster construction originally installed in a barn in the Lake District consisting of biomorphic shapes painted and embedded with found natural objects. Schwitters was conscious that his hand-held sculptures represented an important development in his art and wrote to a friend: ‘Here [in Britain] I paint in smaller formats and model in very small pocket-sized format. My sculptures are new for me – they are my best work at present.’ (Schwitters to Friedrich Vordemberge-Gildewart, December 1945, quoted in Luke 2014, p.161). </p>\n<p>The size of the sculptures was not only determined by aesthetic choice and the small found objects from which they were made, but also reflected Schwitters’ circumstances as an exile; he used the sculptures as a way of exploring ideas on a small, portable scale detached from a specific place, before he was able to realise them on a large, site-specific scale in his final Merz construction, the <i>Merz Barn</i> (Luke 2013, pp.43–4). Schwitters wrote in 1946: ‘I worked on and developed my abstract sculptures. It was good that I did these small sculptures because the Merzbau had been bombed’. He also emphasised their importance as a new development in his art: ‘I am developing a new kind of sculpture from found forms. Very small, not ornamental like the Merzbau. Similar to the MZ [collages]’. (Letters to Hans Richter, 29 March 1946 and Friedrich Vordemberge-Gildewart, 5 January 1946 respectively, quoted in Luke 2013, p.48.) Art historian Megan Luke has also suggested that themes of exile are present in the formal relationships of sculptures such as <i>Untitled (Togetherness)</i>, questioning whether this work is ‘an image of union or isolation’ and raising the possibility of reading ‘the space in between [as] an agent of division or … a body in its own right rendered visible, almost palpable’, and pointing to ‘the ambiguity of identity, place and community’ it embodies (Luke 2013, p.49).</p>\n<p>Schwitters saw the use of painted surfaces in sculpture as a way of combining painting and sculpture into one art, challenging the traditional boundaries that separated the two practices. In November 1945 he wrote to Alfred Barr, Director of the Museum of Modern Art in New York, describing this practice: ‘I modellised the colour and form of the surface with paint, so that modellising and painting become only one art’ (quoted in John Elderfield, <i>Kurt Schwitters</i>, London 1985, p.218). Curator and art historian John Elderfield has argued that plaster and paint were used by Schwitters simultaneously as agents of ‘containment and disassociation’ as he coated found objects such as twigs, bones and stones, both using them as armatures and enabling the ‘formal assimilation of things taken from the world’ in the same way as he had done in the Hanover Merzbau. Elderfield asserts that modelling in plaster became more important to Schwitters as he increasingly drew inspiration from the natural world, because it was closer to organic creation than assemblage: ‘Plaster allowed Schwitters to paint and model at the same time … To build onto objects an impasto skin of plaster was not only to combine painting and sculpture, it was to graft these activities onto assemblage. He was indeed seeking in these small and unassuming plaster sculptures to draw together the different strands of his art.’ (Ibid., p.219.)</p>\n<p>Luke has posited that in his combination of paint and plaster with found objects, Schwitters was eschewing the practice of ‘truth to materials’ adopted by British sculptors inspired by organic natural forms, such as Barbara Hepworth and Henry Moore, as the painted surfaces of Schwitters’ sculpture estrange the viewer from the natural object that serves as the basic structure for the work, and ‘simultaneously court and deflect our impulse to seek recognition’ (Luke 2013, p.45).</p>\n<p>\n<b>Further reading</b>\n<br/>Karin Orchard and Isabel Schulz (eds.), <i>Kurt Schwitters. Catalogue Raisonné: Volume 3</i>, Ostfildern-Ruit 2006, no.3244.<br/>Emma Chambers and Karin Orchard (eds.), <i>Schwitters in Britain</i>, exhibition catalogue, Tate Britain, London 2013, pp.49, 193, reproduced p.55.<br/>Megan Luke, ‘Togetherness in Exile’, in Emma Chambers and Karin Orchard (eds.), <i>Schwitters in Britain</i>, exhibition catalogue, Tate Britain, London 2013, pp.42–51.</p>\n<p>Emma Chambers<br/>April 2016</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-11-17T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[ "abstraction", "assemblage / collage", "colour", "emotions, concepts and ideas", "formal qualities", "gestural", "irregular forms", "non-representational", "texture" ]	null	false	40617 225 19508 796 185 8577	false	Creative Commons CC BY-NC-ND 4.0 DEED	artwork
Stone, paint	[ { "append_role_to_name": false, "date": "1887–1948", "fc": "Kurt Schwitters", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/kurt-schwitters-1912" } ]	120,766	[ { "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" } ]	1,945	<a href="https://www.tate.org.uk/art/artists/kurt-schwitters-1912" aria-label="More by Kurt Schwitters" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Kurt Schwitters</a>	Stone	2,018		[]	Purchased with funds provided by Tate International Council, Tate Members and Art Fund 2018	T15027	{ "id": 8, "meta": { "type": "art.Classification" } }			7005289 7011781 7013260 1002450 7003676 7000084 7010221 7008117 7002445 7008591	Kurt Schwitters	1,945	[ { "archiveItemCount": 1, "id": 184, "level": 1, "name": "abstraction", "parent_id": 1, "workCount": 8614 }, { "archiveItemCount": 5302, "id": 29, "level": 1, "name": "emotions, concepts and ideas", "parent_id": 1, "workCount": 11114 }, { "archiveItemCount": 3599, "id": 6729, "level": 2, "name": "formal qualities", "parent_id": 29, "workCount": 8855 }, { "archiveItemCount": 2572, "id": 30029, "level": 3, "name": "found object / readymade", "parent_id": 6729, "workCount": 59 }, { "archiveItemCount": 7, "id": 19508, "level": 3, "name": "gestural", "parent_id": 6729, "workCount": 756 }, { "archiveItemCount": 97, "id": 796, "level": 3, "name": "irregular forms", "parent_id": 185, "workCount": 1910 }, { "archiveItemCount": 1, "id": 185, "level": 2, "name": "non-representational", "parent_id": 184, "workCount": 6160 } ]	<p><span>Untitled (Stone)</span> 1945–7 is a smooth rounded pebble, large enough to fit comfortably into the palm of a hand, the surface of which has been brushed with red, blue and white paint. It is one of a group of small hand-held sculptures which collectively form the most important new development in Schwitters’ art during his time living and working in Britain. He settled in London at the end of 1941, having been released from internment on the Isle of Man in November that year. <span>Untitled (Stone)</span> demonstrates how Schwitters was able to transform found objects with a simple skin of paint, thus combining the media of sculpture and painting in one object. He also made hand-held sculptures in painted plaster.</p>	false	1	https://media.tate.org.u…15/T15027_10.jpg	1912	sculpture stone paint	[ { "artistRoomsTour": false, "dateText": "16 April 2001 – 20 April 2003", "endDate": "2003-04-20", "exhibitionLegs": [ { "dateText": "16 April 2001 – 20 April 2003", "endDate": "2003-04-20", "id": 497, "startDate": "2001-04-16", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 414, "startDate": "2001-04-16", "title": "Kurt Schwitters", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "11 February 2002 – 20 April 2003", "endDate": "2003-04-20", "exhibitionLegs": [ { "dateText": "11 February 2002 – 20 April 2003", "endDate": "2003-04-20", "id": 747, "startDate": "2002-02-11", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 658, "startDate": "2002-02-11", "title": "Schwitters and Arp", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "19 December 2003 – 31 May 2004", "endDate": "2004-05-31", "exhibitionLegs": [ { "dateText": "12 December 2003 – 31 May 2004", "endDate": "2004-05-31", "id": 1804, "startDate": "2003-12-12", "venueName": "Tate Liverpool (Liverpool, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/liverpool/" } ], "id": 1623, "startDate": "2003-12-19", "title": "The Shape of Ideas", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "18 February 2005 – 17 July 2005", "endDate": "2005-07-17", "exhibitionLegs": [ { "dateText": "18 February 2005 – 1 May 2005", "endDate": "2005-05-01", "id": 2138, "startDate": "2005-02-18", "venueName": "Camden Arts Centre (London, UK)", "venueWebsiteUrl": null }, { "dateText": "21 May 2005 – 17 July 2005", "endDate": "2005-07-17", "id": 2139, "startDate": "2005-05-21", "venueName": "Fruitmarket Gallery (Edinburgh, UK)", "venueWebsiteUrl": null }, { "dateText": "1 October 2005 – 27 November 2005", "endDate": "2005-11-27", "id": 2521, "startDate": "2005-10-01", "venueName": "Glynn Vivian Art Gallery (Swansea, UK)", "venueWebsiteUrl": null } ], "id": 1957, "startDate": "2005-02-18", "title": "An Aside", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "4 October 2008 – 11 January 2009", "endDate": "2009-01-11", "exhibitionLegs": [ { "dateText": "4 October 2008 – 11 January 2009", "endDate": "2009-01-11", "id": 4561, "startDate": "2008-10-04", "venueName": "Tate St Ives (St Ives, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/stives/" } ], "id": 3841, "startDate": "2008-10-04", "title": "Heimo Zobernig and the Tate Collection", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "15 May 2010 – 26 September 2010", "endDate": "2010-09-26", "exhibitionLegs": [ { "dateText": "15 May 2010 – 26 September 2010", "endDate": "2010-09-26", "id": 5641, "startDate": "2010-05-15", "venueName": "Tate St Ives (St Ives, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/stives/" } ], "id": 4697, "startDate": "2010-05-15", "title": "Object", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "28 January 2013 – 25 August 2013", "endDate": "2013-08-25", "exhibitionLegs": [ { "dateText": "28 January 2013 – 12 May 2013", "endDate": "2013-05-12", "id": 7289, "startDate": "2013-01-28", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" }, { "dateText": "2 June 2013 – 25 August 2013", "endDate": "2013-08-25", "id": 7290, "startDate": "2013-06-02", "venueName": "Sprengel Museum (Hannover, Germany)", "venueWebsiteUrl": null } ], "id": 5962, "startDate": "2013-01-28", "title": "Schwitters in Britain", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "28 January 2013 – 25 August 2013", "endDate": "2013-08-25", "exhibitionLegs": [ { "dateText": "2 June 2013 – 25 August 2013", "endDate": "2013-08-25", "id": 7787, "startDate": "2013-06-02", "venueName": "Sprengel Museum (Hannover, Germany)", "venueWebsiteUrl": null } ], "id": 6362, "startDate": "2013-01-28", "title": "Schwitters and Britain", "type": "Loan-out" } ]	Untitled (Stone)	1,945	Tate	1945–7		CLEARED	8	object: 50 × 95 × 82 mm	accessioned work	Tate	Purchased with funds provided by Tate International Council, <a href="/search?gid=999999973" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Tate Members</a> and Art Fund 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Untitled (Stone)</i> 1945–7 is a smooth rounded pebble, large enough to fit comfortably into the palm of a hand, the surface of which has been brushed with red, blue and white paint. It is one of a group of small hand-held sculptures which collectively form the most important new development in Schwitters’ art during his time living and working in Britain. He settled in London at the end of 1941, having been released from internment on the Isle of Man in November that year. <i>Untitled (Stone)</i> demonstrates how Schwitters was able to transform found objects with a simple skin of paint, thus combining the media of sculpture and painting in one object. He also made hand-held sculptures in painted plaster.</p>\n<p>Such works of the 1940s reflect a new direction in Schwitters’ art when he developed a practice of combining found objects with plaster to make small hand-held sculptures, as well as creating his <i>Merz Barn </i>1947–8 (now surviving as the <i>Merz Barn Wall</i>, Hatton Gallery, Newcastle Upon Tyne) – a plaster construction originally installed in a barn in the Lake District consisting of biomorphic shapes painted and embedded with found natural objects. Schwitters was conscious that his hand-held sculptures represented an important development in his art and wrote to a friend: ‘Here [in Britain] I paint in smaller formats and model in very small pocket-sized format. My sculptures are new for me – they are my best work at present.’ (Schwitters to Friedrich Vordemberge-Gildewart, December 1945, quoted in Luke 2014, p.161). The size of the sculptures was not only determined by aesthetic choice and the small found objects from which they were made, but also reflected Schwitters’ circumstances as an exile; he used the sculptures as a way of exploring ideas on a small, portable scale detached from a specific place, before he was able to realise them on a large, site-specific scale in his final Merz construction, the <i>Merz Barn</i> (Luke 2013, pp.43–4). Schwitters wrote in 1946: ‘I worked on and developed my abstract sculptures. It was good that I did these small sculptures because the Merzbau had been bombed’. He also emphasised their importance as a new development in his art: ‘I am developing a new kind of sculpture from found forms. Very small, not ornamental like the Merzbau. Similar to the MZ [collages]’. (Letters to Hans Richter, 29 March 1946 and Friedrich Vordemberge-Gildewart, 5 January 1946 respectively, quoted in Luke 2013, p.48.)</p>\n<p>Schwitters saw the use of painted surfaces in sculpture as a way of combining painting and sculpture into one art, challenging the traditional boundaries that separated the two practices. In November 1945 he wrote to Alfred Barr, Director of the Museum of Modern Art in New York, describing this practice: ‘I modellised the colour and form of the surface with paint, so that modellising and painting become only one art’ (quoted in John Elderfield, <i>Kurt Schwitters</i>, London 1985, p.218). Curator and art historian John Elderfield has argued that plaster and paint were used by Schwitters simultaneously as agents of ‘containment and disassociation’ as he coated found objects such as twigs, bones and stones, both using them as armatures and enabling the ‘formal assimilation of things taken from the world’ in the same way as he had done in the Hanover Merzbau. Historian Megan Luke has posited that in his combination of paint and plaster with found objects, Schwitters was eschewing the practice of ‘truth to materials’ adopted by British sculptors inspired by organic natural forms, such as Barbara Hepworth and Henry Moore, as the painted surfaces of Schwitters’ sculpture estrange the viewer from the natural object that serves as the basic structure for the work, and ‘simultaneously court and deflect our impulse to seek recognition’ (Luke 2013, p.45). In <i>Untitled (Stone)</i>, for instance, she describes how ‘colour thwarts even our capacity to see this object literally as a simple stone and nothing else beside. With the utmost economy of means, this incomplete coat of paint is all it takes to foil our search for likeness and, simultaneously transform an unformed thing into a sculpture.’ (Luke 2013, p.46.)</p>\n<p>\n<b>Further reading</b>\n<br/>Karin Orchard and Isabel Schulz (eds.), <i>Kurt Schwitters. Catalogue Raisonné: Volume 3</i>, Ostfildern-Ruit 2006, no.3259.<br/>Emma Chambers and Karin Orchard (eds.), <i>Schwitters in Britain</i>, exhibition catalogue, Tate Britain, London 2013, p.46, reproduced p.53.<br/>Megan Luke, ‘Togetherness in Exile’, in Emma Chambers and Karin Orchard (eds.), <i>Schwitters in Britain</i>, exhibition catalogue, Tate Britain, London 2013, pp.42–51.</p>\n<p>Emma Chambers<br/>April 2016</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-11-17T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[ "abstraction", "emotions, concepts and ideas", "formal qualities", "found object / readymade", "gestural", "irregular forms", "non-representational" ]	null	false	30029 19508 796 185	false	Creative Commons CC BY-NC-ND 4.0 DEED	artwork
Plaster, paint	[ { "append_role_to_name": false, "date": "1887–1948", "fc": "Kurt Schwitters", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/kurt-schwitters-1912" } ]	120,767	[ { "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" } ]	1,945	<a href="https://www.tate.org.uk/art/artists/kurt-schwitters-1912" aria-label="More by Kurt Schwitters" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Kurt Schwitters</a>	Clown	2,018		[]	Purchased with funds provided by Tate International Council, Tate Members and Art Fund 2018	T15028	{ "id": 8, "meta": { "type": "art.Classification" } }			7005289 7011781 7013260 1002450 7003676 7000084 7010221 7008117 7002445 7008591	Kurt Schwitters	1,945	[ { "archiveItemCount": 1, "id": 184, "level": 1, "name": "abstraction", "parent_id": 1, "workCount": 8614 }, { "archiveItemCount": 0, "id": 95, "level": 2, "name": "adults", "parent_id": 91, "workCount": 20120 }, { "archiveItemCount": 5738, "id": 118, "level": 2, "name": "arts and entertainment", "parent_id": 116, "workCount": 1472 }, { "archiveItemCount": 0, "id": 40617, "level": 3, "name": "assemblage / collage", "parent_id": 6729, "workCount": 47 }, { "archiveItemCount": 1415, "id": 88, "level": 2, "name": "clothing and personal items", "parent_id": 78, "workCount": 4464 }, { "archiveItemCount": 92, "id": 8463, "level": 3, "name": "clown", "parent_id": 118, "workCount": 25 }, { "archiveItemCount": 5302, "id": 29, "level": 1, "name": "emotions, concepts and ideas", "parent_id": 1, "workCount": 11114 }, { "archiveItemCount": 454, "id": 451, "level": 3, "name": "figure", "parent_id": 95, "workCount": 6355 }, { "archiveItemCount": 391, "id": 221, "level": 3, "name": "figure", "parent_id": 189, "workCount": 1879 }, { "archiveItemCount": 3599, "id": 6729, "level": 2, "name": "formal qualities", "parent_id": 29, "workCount": 8855 }, { "archiveItemCount": 2572, "id": 30029, "level": 3, "name": "found object / readymade", "parent_id": 6729, "workCount": 59 }, { "archiveItemCount": 1, "id": 189, "level": 2, "name": "from recognisable sources", "parent_id": 184, "workCount": 3633 }, { "archiveItemCount": 360, "id": 493, "level": 3, "name": "hat", "parent_id": 88, "workCount": 1077 }, { "archiveItemCount": 1140, "id": 5443, "level": 3, "name": "humour", "parent_id": 30, "workCount": 301 }, { "archiveItemCount": 97, "id": 796, "level": 3, "name": "irregular forms", "parent_id": 185, "workCount": 1910 }, { "archiveItemCount": 1, "id": 185, "level": 2, "name": "non-representational", "parent_id": 184, "workCount": 6160 }, { "archiveItemCount": 9924, "id": 78, "level": 1, "name": "objects", "parent_id": 1, "workCount": 13647 }, { "archiveItemCount": 0, "id": 91, "level": 1, "name": "people", "parent_id": 1, "workCount": 22072 }, { "archiveItemCount": 3955, "id": 30, "level": 2, "name": "universal concepts", "parent_id": 29, "workCount": 2432 }, { "archiveItemCount": 0, "id": 116, "level": 1, "name": "work and occupations", "parent_id": 1, "workCount": 5453 } ]	<p>It was Schwitters’ practice to incorporate chance into his works, by using found materials in which he identified subtlety and beauty. In his final years, spent in exile in Britain, he made small scale works with wood, plaster and other elements. Many of these were informal, but often use coloured and painted surfaces to resolve the composition. The results are curious, often witty, sculptures.</p><p><em>Gallery label, November 2007</em></p>	false	1	https://media.tate.org.u…15/T15028_10.jpg	1912	sculpture plaster paint	[ { "artistRoomsTour": false, "dateText": "16 April 2001 – 20 April 2003", "endDate": "2003-04-20", "exhibitionLegs": [ { "dateText": "16 April 2001 – 20 April 2003", "endDate": "2003-04-20", "id": 497, "startDate": "2001-04-16", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 414, "startDate": "2001-04-16", "title": "Kurt Schwitters", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "11 February 2002 – 20 April 2003", "endDate": "2003-04-20", "exhibitionLegs": [ { "dateText": "11 February 2002 – 20 April 2003", "endDate": "2003-04-20", "id": 747, "startDate": "2002-02-11", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 658, "startDate": "2002-02-11", "title": "Schwitters and Arp", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "19 December 2003 – 31 May 2004", "endDate": "2004-05-31", "exhibitionLegs": [ { "dateText": "12 December 2003 – 31 May 2004", "endDate": "2004-05-31", "id": 1804, "startDate": "2003-12-12", "venueName": "Tate Liverpool (Liverpool, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/liverpool/" } ], "id": 1623, "startDate": "2003-12-19", "title": "The Shape of Ideas", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "28 January 2013 – 25 August 2013", "endDate": "2013-08-25", "exhibitionLegs": [ { "dateText": "28 January 2013 – 12 May 2013", "endDate": "2013-05-12", "id": 7289, "startDate": "2013-01-28", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" }, { "dateText": "2 June 2013 – 25 August 2013", "endDate": "2013-08-25", "id": 7290, "startDate": "2013-06-02", "venueName": "Sprengel Museum (Hannover, Germany)", "venueWebsiteUrl": null } ], "id": 5962, "startDate": "2013-01-28", "title": "Schwitters in Britain", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "28 January 2013 – 25 August 2013", "endDate": "2013-08-25", "exhibitionLegs": [ { "dateText": "2 June 2013 – 25 August 2013", "endDate": "2013-08-25", "id": 7787, "startDate": "2013-06-02", "venueName": "Sprengel Museum (Hannover, Germany)", "venueWebsiteUrl": null } ], "id": 6362, "startDate": "2013-01-28", "title": "Schwitters and Britain", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "17 April 2015 – 8 May 2016", "endDate": "2016-05-08", "exhibitionLegs": [ { "dateText": "17 April 2015 – 8 May 2016", "endDate": "2016-05-08", "id": 9159, "startDate": "2015-04-17", "venueName": "The Hepworth Wakefield (Wakefield, UK)", "venueWebsiteUrl": null } ], "id": 7525, "startDate": "2015-04-17", "title": "Plaster: Casts and Copies", "type": "Loan-out" } ]	Untitled (The Clown)	1,945	Tate	c.1945–7		CLEARED	8	object: 195 × 152 × 60 mm	accessioned work	Tate	Purchased with funds provided by Tate International Council, <a href="/search?gid=999999973" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Tate Members</a> and Art Fund 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Untitled (The Clown) </i>c.1945–7 consists of a wedge-shaped painted stone atop of which a conical blue plaster form with a red tip balances at an angle. The form suggests a human figure wearing a pointed, clown-style hat; it is an example of how Schwitters was able to combine abstraction with a suggestion of human presence. The work was titled by Schwitters’ partner, Edith Thomas, to reflect these anthropomorphic qualities. </p>\n<p>This work is one of a group of small sculptures combining found objects, plaster and paint which collectively form the most important new development in Schwitters’ art during his time living and working in Britain. He settled in London at the end of 1941, having been released from internment on the Isle of Man in November that year. These small sculptures relate to his site-specific <i>Merz Barn </i>1947–8 (now surviving as the <i>Merz Barn Wall</i>, Hatton Gallery, Newcastle Upon Tyne) – a plaster construction originally installed in a barn in the Lake District consisting of biomorphic shapes painted and embedded with found natural objects. Schwitters was conscious that his hand-held sculptures represented an important development in his art and wrote to a friend: ‘Here [in Britain] I paint in smaller formats and model in very small pocket-sized format. My sculptures are new for me – they are my best work at present.’ (Schwitters to Friedrich Vordemberge-Gildewart, December 1945, quoted in Luke 2014, p.161). The size of the sculptures was not only determined by aesthetic choice and the small found objects from which they were made, but also reflected Schwitters’ circumstances as an exile; he used the sculptures as a way of exploring ideas on a small, portable scale detached from a specific place, before he was able to realise them on a large, site-specific scale in his final Merz construction, the <i>Merz Barn</i> (Luke 2013, pp.43–4). Schwitters wrote in 1946: ‘I worked on and developed my abstract sculptures. It was good that I did these small sculptures because the Merzbau had been bombed’. He also emphasised their importance as a new development in his art: ‘I am developing a new kind of sculpture from found forms. Very small, not ornamental like the Merzbau. Similar to the MZ [collages]’. (Letters to Hans Richter, 29 March 1946 and Friedrich Vordemberge-Gildewart, 5 January 1946 respectively, quoted in Luke 2013, p.48.) </p>\n<p>Schwitters saw the use of painted surfaces in sculpture as a way of combining painting and sculpture into one art, challenging the traditional boundaries that separated the two practices. In November 1945 he wrote to Alfred Barr, Director of the Museum of Modern Art in New York, describing this practice: ‘I modellised the colour and form of the surface with paint, so that modellising and painting become only one art’ (quoted in John Elderfield, <i>Kurt Schwitters</i>, London 1985, p.218). Curator and art historian John Elderfield has argued that plaster and paint were used by Schwitters simultaneously as agents of ‘containment and disassociation’ as he coated found objects such as twigs, bones and stones, both using them as armatures and enabling the ‘formal assimilation of things taken from the world’ in the same way as he had done in the Hanover Merzbau. Elderfield asserts that modelling in plaster became more important to Schwitters as he increasingly drew inspiration from the natural world, because it was closer to organic creation than assemblage: ‘Plaster allowed Schwitters to paint and model at the same time … To build onto objects an impasto skin of plaster was not only to combine painting and sculpture, it was to graft these activities onto assemblage. He was indeed seeking in these small and unassuming plaster sculptures to draw together the different strands of his art.’ (Ibid., p.219.) </p>\n<p>Art historian Megan Luke has posited that in his combination of paint and plaster with found objects, Schwitters was eschewing the practice of ‘truth to materials’ adopted by British sculptors inspired by organic natural forms, such as Barbara Hepworth and Henry Moore, as the painted surfaces of Schwitters’ sculpture estrange the viewer from the natural object that serves as the basic structure for the work, and ‘simultaneously court and deflect our impulse to seek recognition’ (Luke 2013, p.45). </p>\n<p>\n<b>Further reading</b>\n<br/>Karin Orchard and Isabel Schulz (eds.), <i>Kurt Schwitters. Catalogue Raisonné: Volume 3</i>, Ostfildern-Ruit 2006, no.3243.<br/>Emma Chambers and Karin Orchard (eds.), <i>Schwitters in Britain</i>, exhibition catalogue, Tate Britain, London 2013, reproduced p.112.<br/>Megan Luke, ‘Togetherness in Exile’, in Emma Chambers and Karin Orchard (eds.), <i>Schwitters in Britain</i>, exhibition catalogue, Tate Britain, London 2013, pp.42–51.</p>\n<p>Emma Chambers<br/>April 2016</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-11-17T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<p>It was Schwitters’ practice to incorporate chance into his works, by using found materials in which he identified subtlety and beauty. In his final years, spent in exile in Britain, he made small scale works with wood, plaster and other elements. Many of these were informal, but often use coloured and painted surfaces to resolve the composition. The results are curious, often witty, sculptures.</p>\n", "display_name": "Display caption", "publication_date": "2007-11-27T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]	[ "abstraction", "adults", "arts and entertainment", "assemblage / collage", "clothing and personal items", "clown", "emotions, concepts and ideas", "figure", "figure", "formal qualities", "found object / readymade", "from recognisable sources", "hat", "humour", "irregular forms", "non-representational", "objects", "people", "universal concepts", "work and occupations" ]	null	false	118 40617 88 8463 451 221 30029 189 493 5443 796 185 30	false	Creative Commons CC BY-NC-ND 4.0 DEED	artwork
Video, high definition, projection, colour and sound	[ { "append_role_to_name": false, "date": "", "fc": "The Otolith Group", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/the-otolith-group-8995" } ]	120,768	[ { "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" } ]	2,010	<a href="https://www.tate.org.uk/art/artists/the-otolith-group-8995" aria-label="More by The Otolith Group" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">The Otolith Group</a>	Hydra Decapita	2,018		[]	Presented by Tate Members 2018	T15029	{ "id": 10, "meta": { "type": "art.Classification" } }				The Otolith Group	2,010	[]	<p><span>Hydra Decapita</span> 2010 is a colour film shot in High Definition lasting just over thirty-one minutes and shown as a projection. It exists in an edition of five plus one artists’ proof; this copy is number two in the main edition. The film is centred on the work of Detroit-based techno music duo Drexciya. Drexciya, which was active from 1992–2002, consisted of James Stinson and Gerald Donald. In opposition to mainstream musicians of the time, Drexciya rejected the cult of personality and excess that surrounded the techno scene and instead focused on the conceptual and political. Afro-futurist theories were central to their practice and most notably in their album ‘The Quest’ (1997), where it was revealed that Drexciya was a submerged underwater country that was populated by the unborn children of pregnant women who were thrown overboard during the middle passage of slave ships across the Atlantic.</p>	false	1	https://media.tate.org.u…15/T15029_10.jpg	8995	time-based media video high definition projection colour sound	[ { "artistRoomsTour": false, "dateText": "20 July 2013 – 26 January 2014", "endDate": "2014-01-26", "exhibitionLegs": [ { "dateText": "20 July 2013 – 22 September 2013", "endDate": "2013-09-22", "id": 8148, "startDate": "2013-07-20", "venueName": "Nottingham Contemporary (Nottingham, UK)", "venueWebsiteUrl": "http://www.nottinghamcontemporary.org/" }, { "dateText": "12 October 2013 – 26 January 2014", "endDate": "2014-01-26", "id": 7872, "startDate": "2013-10-12", "venueName": "Tate St Ives (St Ives, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/stives/" } ], "id": 6448, "startDate": "2013-07-20", "title": "Aquatopia", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "26 October 2020 – 31 October 2021", "endDate": "2021-10-31", "exhibitionLegs": [ { "dateText": "26 October 2020", "endDate": null, "id": 14212, "startDate": "2020-10-26", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 11730, "startDate": "2020-10-26", "title": "The Otolith Group: Hydra Decapita", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "6 July 2024 – 15 January 2028", "endDate": "2028-01-15", "exhibitionLegs": [ { "dateText": "30 September 2024 – 7 May 2025", "endDate": "2025-05-07", "id": 15574, "startDate": "2024-09-30", "venueName": "Museum of Art Pudong (Shanghai, China)", "venueWebsiteUrl": null }, { "dateText": "21 June 2025 – 5 October 2025", "endDate": "2025-10-05", "id": 15575, "startDate": "2025-06-21", "venueName": "Queensland Art Gallery of Modern Art (Brisbane, Australia)", "venueWebsiteUrl": null }, { "dateText": "1 June 2026 – 1 October 2026", "endDate": "2026-10-01", "id": 14857, "startDate": "2026-06-01", "venueName": "External", "venueWebsiteUrl": null }, { "dateText": "15 November 2026 – 15 March 2027", "endDate": "2027-03-15", "id": 14858, "startDate": "2026-11-15", "venueName": "External", "venueWebsiteUrl": null }, { "dateText": "1 May 2027 – 1 September 2027", "endDate": "2027-09-01", "id": 14859, "startDate": "2027-05-01", "venueName": "External", "venueWebsiteUrl": null }, { "dateText": "15 October 2027 – 15 January 2028", "endDate": "2028-01-15", "id": 15735, "startDate": "2027-10-15", "venueName": "External", "venueWebsiteUrl": null } ], "id": 12217, "startDate": "2024-07-06", "title": "Turner's Sublime Legacy", "type": "Tate partnerships & programmes" } ]	Hydra Decapita	2,010	Tate	2010		CLEARED	10	duration: 31min, 48sec	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> 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Hydra Decapita</i> 2010 is a colour film shot in High Definition lasting just over thirty-one minutes and shown as a projection. It exists in an edition of five plus one artists’ proof; this copy is number two in the main edition. The film is centred on the work of Detroit-based techno music duo Drexciya. Drexciya, which was active from 1992–2002, consisted of James Stinson and Gerald Donald. In opposition to mainstream musicians of the time, Drexciya rejected the cult of personality and excess that surrounded the techno scene and instead focused on the conceptual and political. Afro-futurist theories were central to their practice and most notably in their album ‘The Quest’ (1997), where it was revealed that Drexciya was a submerged underwater country that was populated by the unborn children of pregnant women who were thrown overboard during the middle passage of slave ships across the Atlantic.</p>\n<p>In <i>Hydra Decapita</i>, The Otolith Group used this imagined world as a point of departure to explore notions of globalisation, capitalism and climate change, with particular attention to the relationships between finance, death, abstraction and language. The film focuses on a legal case from 1781 in which a slave ship called Zong, which was travelling from Jamaica to Liverpool in England, became lost and the captain of the ship decided to murder all 133 enslaved people on board by throwing them overboard so that he could claim insurance for the loss of cargo. When the case came to trial in 1783, it was in relation to the insurance claim and not the murder of the enslaved people. In <i>Hydra Decapita </i>this historical moment is related to a wider understanding of how financial capitalism operates. The artists draw a parallel with J.M.W. Turner’s (1775–1851) painting <i>Slavers Throwing Overboard the Dead and Dying </i>1840 (Museum of Fine Arts, Boston), in which the artist attempted to depict a similar atrocity. Although not specifically depicting what happened on board Zong, Turner was certainly influenced by the murders, having read about them in Thomas Clarkson’s <i>The History and Abolition of the Slave Trade </i>(1808). An advocate for the abolition of slavery, Turner exhibited the painting during an anti-slavery conference in London with the intention that it would be seen by Prince Albert, who was speaking at the event, thus prompting him to increase British anti-slavery efforts.</p>\n<p>Speaking about <i>Hydra Decapita</i>, Otolith Group member Kodwo Eshun explained:</p>\n<p class=\"cttext\">\n</p><blockquote>\n<i>Hydra Decapita</i> is a way of connecting this historical atrocity to the present of financial capitalism via a few other roots. We link the 1781 atrocity to J.M.W. Turner’s painting, <i>The Slave Ship</i> from 1840, which attempts to visualize this atrocity. Then we link that to John Ruskin’s 1843 text from <i>Modern Painters</i>, volume I, in which he talks about Turner’s methodology for painting water, and he refers to this painting. So, you have this constellation of dates, and finally you have the Detroit electro group Drexciya, which from 1992 to 2002 created a series of albums that were set in this underwater kingdom called Drexciya. This kingdom was populated by the children of slaves who had been thrown overboard during the Middle Passage. [In] this science fiction, the female slaves who were thrown overboard did not die but gave birth to children who could breathe underwater. We constructed a relation between these elements. Visually, the film is extremely monochromatic. It’s also based on singing, so you get a film that has a desolate eeriness to it. And all of this is our way of trying to apprehend abstraction. The idea is that financial capitalism works through abstract processes that nonetheless have real effects, which means that our language, aesthetically speaking, has to become as abstract as reality itself. It also relates to the point that I made earlier, about constructing nonlinear relations to the present.<br/>Quoted at <a href=\"http://www.artpractical.com/column/interview_with_kodwo_eshun/\">http://www.artpractical.com/column/interview_with_kodwo_eshun/</a>, accessed 10 January 2017.)</blockquote>\n<p>The Otolith Group was founded in 2002 by Kodwo Eshun and Anjalika Sagar. Throughout their longstanding collaboration, its practice has centred around critical, collaborative and discursive practice, across disciplines and often engaging with archives to develop projects and films that question the nature of documentary and engage with issues of futurity and transnationality. The artists have described the breadth of their work as exploring ‘the moving image, the archive, the sonic and the aural within the gallery context’ (at <a href=\"http://www.otolithgroup.org\">www.otolithgroup.org</a>, accessed 10 January 2017). The word ‘Otolith’ refers to an element of the inner ear that manages and processes the body’s ability to orientate itself. In using the name The Otolith Group, its members – Kodwo Eshun and Anjalika Sagar – draw attention to notions of orientation and disorientation and the ways in which we physically, philosophically and aesthetically move through the world. </p>\n<p>\n<b>Further reading</b>\n<br/>Helen Little and Katharine Stout, ‘The Otolith Group’, in <i>Turner Prize 2010</i>, exhibition catalogue, Tate Britain, London 2010.<br/>Kodjo Eshun and Ros Gray, ‘The Militant Image: A Ciné-Geography’, <i>Third Text</i>, vol.25, issue 1, 2011.<br/>‘Interview with Kodwo Eshun of the Otolith Group’, weekly podcast by Bad at Sports, 15 February 2012, <a href=\"http://www.artpractical.com/column/interview_with_kodwo_eshun/\">http://www.artpractical.com/column/interview_with_kodwo_eshun/</a>, accessed 26 January 2017</p>\n<p>Linsey Young<br/>January 2017<b> </b>\n</p>\n</div>\n", "display_name": "Summary", "publication_date": "2020-09-30T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Oil paint on hardboard	[ { "append_role_to_name": false, "date": "1883–1971", "fc": "Grace Pailthorpe", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/grace-pailthorpe-24214" } ]	120,778	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,938	<a href="https://www.tate.org.uk/art/artists/grace-pailthorpe-24214" aria-label="More by Grace Pailthorpe" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Grace Pailthorpe</a>	December 4th 1938	2,018		[]	Purchased 2018	T15033	{ "id": 6, "meta": { "type": "art.Classification" } }		1688	1030801 7008175 7002445 7008591	Grace Pailthorpe	1,938	[ { "archiveItemCount": 1, "id": 184, "level": 1, "name": "abstraction", "parent_id": 1, "workCount": 8614 }, { "archiveItemCount": 0, "id": 95, "level": 2, "name": "adults", "parent_id": 91, "workCount": 20120 }, { "archiveItemCount": 99, "id": 531, "level": 3, "name": "baby", "parent_id": 94, "workCount": 427 }, { "archiveItemCount": 39, "id": 2446, "level": 3, "name": "birth", "parent_id": 146, "workCount": 38 }, { "archiveItemCount": 749, "id": 146, "level": 2, "name": "birth to death", "parent_id": 145, "workCount": 723 }, { "archiveItemCount": 1628, "id": 93, "level": 2, "name": "body", "parent_id": 91, "workCount": 3250 }, { "archiveItemCount": 0, "id": 94, "level": 2, "name": "children", "parent_id": 91, "workCount": 2479 }, { "archiveItemCount": 1, "id": 39635, "level": 3, "name": "colour", "parent_id": 6729, "workCount": 835 }, { "archiveItemCount": 60, "id": 549, "level": 3, "name": "drinking", "parent_id": 48, "workCount": 207 }, { "archiveItemCount": 0, "id": 48, "level": 2, "name": "eating and drinking", "parent_id": 47, "workCount": 409 }, { "archiveItemCount": 829, "id": 149, "level": 2, "name": "education, science and learning", "parent_id": 145, "workCount": 587 }, { "archiveItemCount": 1, "id": 6472, "level": 3, "name": "embryo / foetus", "parent_id": 93, "workCount": 13 }, { "archiveItemCount": 3337, "id": 31, "level": 2, "name": "emotions and human qualities", "parent_id": 29, "workCount": 2008 }, { "archiveItemCount": 5302, "id": 29, "level": 1, "name": "emotions, concepts and ideas", "parent_id": 1, "workCount": 11114 }, { "archiveItemCount": 0, "id": 6904, "level": 2, "name": "family", "parent_id": 145, "workCount": 602 }, { "archiveItemCount": 391, "id": 221, "level": 3, "name": "figure", "parent_id": 189, "workCount": 1879 }, { "archiveItemCount": 454, "id": 451, "level": 3, "name": "figure", "parent_id": 95, "workCount": 6355 }, { "archiveItemCount": 3599, "id": 6729, "level": 2, "name": "formal qualities", "parent_id": 29, "workCount": 8855 }, { "archiveItemCount": 1, "id": 189, "level": 2, "name": "from recognisable sources", "parent_id": 184, "workCount": 3633 }, { "archiveItemCount": 0, "id": 47, "level": 1, "name": "leisure and pastimes", "parent_id": 1, "workCount": 3435 }, { "archiveItemCount": 168, "id": 6924, "level": 3, "name": "mother and child", "parent_id": 6904, "workCount": 226 }, { "archiveItemCount": 0, "id": 91, "level": 1, "name": "people", "parent_id": 1, "workCount": 22072 }, { "archiveItemCount": 0, "id": 19421, "level": 3, "name": "psychology, Klein, Melanie", "parent_id": 149, "workCount": 5 }, { "archiveItemCount": 0, "id": 145, "level": 1, "name": "society", "parent_id": 1, "workCount": 15153 }, { "archiveItemCount": 15, "id": 6780, "level": 3, "name": "subconscious", "parent_id": 31, "workCount": 47 } ]	<p>This painting shows a foetus being nourished in the womb. These early stages of life were Pailthorpe’s main artistic subject. Part of her process was to analyse her paintings, using them as a therapeutic tool. This put her at odds with other members of the British Surrealist Group. Her work was celebrated at the 1936 International Surrealist Exhibition in London. Yet, members saw her use of surrealist techniques for therapeutic ends as ‘repressive’. This ultimately led to her expulsion from the group in 1940.</p><p><em>Gallery label, May 2021</em></p>	false	1	https://media.tate.org.u…15/T15033_10.jpg	24214	painting oil paint hardboard	[ { "artistRoomsTour": false, "dateText": "13 May 2013 – 30 October 2022", "endDate": "2022-10-30", "exhibitionLegs": [ { "dateText": "13 May 2013 – 30 October 2022", "endDate": "2022-10-30", "id": 7554, "startDate": "2013-05-13", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 6180, "startDate": "2013-05-13", "title": "Gallery 33", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "5 November 2016 – 31 August 2025", "endDate": "2025-08-31", "exhibitionLegs": [ { "dateText": "10 November 2023 – 14 April 2024", "endDate": "2024-04-14", "id": 14116, "startDate": "2023-11-10", "venueName": "LWL-Landesmuseum für Kunst und Kulturgeschichte Westfälisches (Munster, Germany)", "venueWebsiteUrl": "http://landesmuseum.lwl.org" }, { "dateText": "23 November 2024 – 3 March 2025", "endDate": "2025-03-03", "id": 16283, "startDate": "2024-11-23", "venueName": "Worcester Art Museum (Worcester, USA)", "venueWebsiteUrl": "http://www.worcesterart.org" }, { "dateText": "1 April 2025 – 31 August 2025", "endDate": "2025-08-31", "id": 15578, "startDate": "2025-04-01", "venueName": "External", "venueWebsiteUrl": null } ], "id": 8136, "startDate": "2016-11-05", "title": "Nude: art from the Tate collection", "type": "Tate partnerships & programmes" }, { "artistRoomsTour": false, "dateText": "6 October 2018 – 23 June 2019", "endDate": "2019-06-23", "exhibitionLegs": [ { "dateText": "6 October 2018 – 20 January 2019", "endDate": "2019-01-20", "id": 11932, "startDate": "2018-10-06", "venueName": "De La Warr Pavilion (Bexhill on Sea, UK)", "venueWebsiteUrl": "http://www.dlwp.com/" }, { "dateText": "12 April 2019 – 23 June 2019", "endDate": "2019-06-23", "id": 12530, "startDate": "2019-04-12", "venueName": "Camden Arts Centre (London, UK)", "venueWebsiteUrl": null } ], "id": 9816, "startDate": "2018-10-06", "title": "Grace Pailthorpe and Reuben Mednikoff", "type": "Loan-out" } ]	December 4th, 1938	1,938	Tate	1938		CLEARED	6	support: 697 × 519 mm frame: 835 × 660 × 60 mm	accessioned work	Tate	Purchased 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>December 4th, 1938</i> 1938 is a portrait format oil painting on canvas board. The ground is divided horizontally in half by a curving line. The lower half describes a blue pool or platform on which rests a reclining pink simplified baby form, with a tap at its neck. Its mouth is wide open receiving nourishment from a liquid that is spurting from the base of a similarly simplified standing green figure with pendulous breast forms and whose body curves towards a rectangular head that occupies, and is cropped by, the top right corner of the canvas. The eyes and mouth are painted violet as is a curving tapering cylindrical form that arcs from the figure’s neck to the edge of the blue platform, and which in section is green with a red tip. The upper background to the left of the figure is yellow and to the right is mottled purple. The title indicates the date of the work’s making, as was the artist’s custom. It was made while the artist was living in Cornwall, where she moved with her partner, the painter Reuben Mednikoff (1906–1972), in 1935.</p>\n<p>Liberation of man achieved through a liberation of the repressed unconscious was Pailthorpe’s declared goal and from 1938 the imagery of her paintings explored an intra-uterine regression and a concern with portraying life at its earliest stages – where the baby is dependent on the mother for life and sustenance. A group of forty-two paintings and drawings created between 23 April and 11 May 1938, described as the <i>Birth Trauma</i> series, built on her response to the principles of Object Relations theory that had been developed by the psychoanalyst Melanie Klein, and was the subject of two lectures written by Pailthorpe in 1938 and 1940 (papers regarding the two lectures and the analysis leading to them are contained in the Grace Pailthorpe / Reuben Mednikoff Archive, Scottish National Gallery of Modern Art, Edinburgh, GMA A62/1/069 and A62/1/021). This broad subject formed the basis of much of her subsequent work until the early 1940s and <i>December 4th, 1938</i> is an example of how this series spread into her work during this period.</p>\n<p>A surgeon during the First World War, Pailthorpe afterwards trained in psychological medicine and criminal psychology before commencing personal analysis under Dr Ernest Jones in 1923. In 1930 she became associated with the Mandrake Press and Aleister Crowley, in which context five years later in February 1935 she met Reuben Mednikoff. Within a few months they were living together in Cornwall where they commenced collaborative research and work in psychology and art. In June 1936 works by the two artists were included in the <i>International Surrealist Exhibition</i> in London and from this date until 1940 they were key members of the British Surrealist Group.</p>\n<p>Pailthorpe was alert to unconscious colour symbolism in her work, which the <i>Birth Trauma</i> and subsequent related works including <i>December 4th, 1938</i> and the later <i>May 16th, 1941</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/pailthorpe-may-16-1941-t15034\" title=\"View the details of this artwork\"><span>T15034</span></a>) appear to approach quite consistently. Blue in both paintings refers to the amniotic fluid of the womb, the yellow in <i>December 4th, 1938</i> represents the outside light beyond the womb – aspects of the colour meaning being outlined in her lectures. These two paintings span the climax of Pailthorpe and Mednikoff’s collaborative endeavour that was first widely publicised through the publication of Pailthorpe’s essay ‘The Scientific Aspect of Surrealism’ in the <i>London Bulletin</i> – the organ at the time of the British Surrealist group (<i>London</i> <i>Bulletin</i>, no.7, Deecember 1938–January 1939) – and the subsequent joint exhibition mounted at Guggenheim Jeune gallery, London in January 1939. In both her essay and the introduction written for their exhibition catalogue, Pailthorpe declared that surrealism and psychoanalysis in common ‘strive to free the psychology of the individual from internal conflict so that she or he may function freely’ – this she defined as ‘the liberation of man’. Furthermore, she stated that the expression of ‘unconscious fantasy’ could be unlocked and interpreted – ‘not a line or detail is out of place and everything has its symbolic meaning. This also applies to colour. Every mark, shape and colour is intended by the unconscious and has its meaning.’ (Reprinted in Leeds City Art Gallery 1998, pp.97–103.) Each painting, watercolour and drawing she and Mednikoff produced allowed the unconscious free rein. Subsequently they both offered analytical interpretation of their own and each other’s work, and these texts were presented alongside their work at Guggenheim Jeune using much the same language as Pailthorpe employed in ‘The Scientific Aspect of Surrealism’. Nevetheless, their allegiance to surrealism as a therapeutic tool drew fire from other surrealists for whom automatism was a way of liberating language and not strictly a means to unlock and study the unconscious within a therapeutic context, something other surrealists held to be socially repressive. In 1940 both Pailthorpe and Mednikoff were expelled from the British Surrealist group and in June that year they left London for America, where they lived until 1946.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>G.W. Pailthorpe and R. Mednikoff</i>, exhibition catalogue, Guggenheim Jeune, London 1939.<br/>\n<i>Sluice Gates of the Mind: The Collaborative Work of Pailthorpe and Mednikoff</i>, exhibition catalogue, Leeds City Art Gallery 1998.<br/>Michel Remy, <i>Surrealism in Britain</i>, Aldershot 1999.</p>\n<p>Andrew Wilson<br/>November 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-05-09T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This painting shows a foetus being nourished in the womb. These early stages of life were Pailthorpe’s main artistic subject. Part of her process was to analyse her paintings, using them as a therapeutic tool. This put her at odds with other members of the British Surrealist Group. Her work was celebrated at the 1936 International Surrealist Exhibition in London. Yet, members saw her use of surrealist techniques for therapeutic ends as ‘repressive’. This ultimately led to her expulsion from the group in 1940.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2021-05-18T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]	[ "abstraction", "adults", "baby", "birth", "birth to death", "body", "children", "colour", "drinking", "eating and drinking", "education, science and learning", "embryo / foetus", "emotions and human qualities", "emotions, concepts and ideas", "family", "figure", "figure", "formal qualities", "from recognisable sources", "leisure and pastimes", "mother and child", "people", "psychology, Klein, Melanie", "society", "subconscious" ]	null	false	531 2446 146 93 94 39635 549 48 149 6472 31 6904 221 451 189 6924 19421 6780	false		artwork
Oil paint on canvas mounted on board	[ { "append_role_to_name": false, "date": "1883–1971", "fc": "Grace Pailthorpe", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/grace-pailthorpe-24214" } ]	120,779	[ { "id": 999999875, "shortTitle": "Tate Modern" }, { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999872, "shortTitle": "Works on display" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,941	<a href="https://www.tate.org.uk/art/artists/grace-pailthorpe-24214" aria-label="More by Grace Pailthorpe" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Grace Pailthorpe</a>	May 16 1941	2,018		[ { "map_gallery": "TM", "map_gallery_label": "Tate Modern", "map_level": "TM_02", "map_level_label": "TM Level 2", "map_space": "TMB2E17", "map_space_label": "Tate Modern / B2E17", "map_wing": "TM_E", "map_wing_label": "TM Natalie Bell Building East", "map_zone": "TM_BH", "map_zone_label": "TM Natalie Bell Building", "nid": "451953" } ]	Purchased 2018	T15034	{ "id": 6, "meta": { "type": "art.Classification" } }		1688	1030801 7008175 7002445 7008591	Grace Pailthorpe	1,941	[ { "archiveItemCount": 1, "id": 184, "level": 1, "name": "abstraction", "parent_id": 1, "workCount": 8614 }, { "archiveItemCount": 39, "id": 2446, "level": 3, "name": "birth", "parent_id": 146, "workCount": 38 }, { "archiveItemCount": 749, "id": 146, "level": 2, "name": "birth to death", "parent_id": 145, "workCount": 723 }, { "archiveItemCount": 1628, "id": 93, "level": 2, "name": "body", "parent_id": 91, "workCount": 3250 }, { "archiveItemCount": 829, "id": 149, "level": 2, "name": "education, science and learning", "parent_id": 145, "workCount": 587 }, { "archiveItemCount": 1, "id": 6472, "level": 3, "name": "embryo / foetus", "parent_id": 93, "workCount": 13 }, { "archiveItemCount": 3337, "id": 31, "level": 2, "name": "emotions and human qualities", "parent_id": 29, "workCount": 2008 }, { "archiveItemCount": 5302, "id": 29, "level": 1, "name": "emotions, concepts and ideas", "parent_id": 1, "workCount": 11114 }, { "archiveItemCount": 391, "id": 221, "level": 3, "name": "figure", "parent_id": 189, "workCount": 1879 }, { "archiveItemCount": 1, "id": 189, "level": 2, "name": "from recognisable sources", "parent_id": 184, "workCount": 3633 }, { "archiveItemCount": 0, "id": 16365, "level": 3, "name": "orifice", "parent_id": 93, "workCount": 10 }, { "archiveItemCount": 0, "id": 91, "level": 1, "name": "people", "parent_id": 1, "workCount": 22072 }, { "archiveItemCount": 0, "id": 19421, "level": 3, "name": "psychology, Klein, Melanie", "parent_id": 149, "workCount": 5 }, { "archiveItemCount": 0, "id": 145, "level": 1, "name": "society", "parent_id": 1, "workCount": 15153 }, { "archiveItemCount": 15, "id": 6780, "level": 3, "name": "subconscious", "parent_id": 31, "workCount": 47 } ]	<p>A surgeon during the First World War, Pailthrope later trained in psychological medicine and criminal psychology before undergoing Freudian analysis. With her partner, Reuben Mednikoff, she made paintings which they submitted to detailed analysis. They showed in the 1936 <span>International Surrealist Exhibition</span> in London, and, in 1940, moved to the United States, where Pailthorpe made this painting. Unconscious images from the earliest moments of life fill her work, here in the form of an unborn foetus. She wrote of their research that ‘Surrealism can lead to a greater understanding of the world around and within us’.</p><p><em>Gallery label, February 2022</em></p>	false	1	https://media.tate.org.u…15/T15034_10.jpg	24214	painting oil paint canvas mounted board	[ { "artistRoomsTour": false, "dateText": "21 May 2016", "endDate": null, "exhibitionLegs": [ { "dateText": "21 May 2016", "endDate": null, "id": 10292, "startDate": "2016-05-21", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 8506, "startDate": "2016-05-21", "title": "International Surrealism", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "6 October 2018 – 23 June 2019", "endDate": "2019-06-23", "exhibitionLegs": [ { "dateText": "6 October 2018 – 20 January 2019", "endDate": "2019-01-20", "id": 11932, "startDate": "2018-10-06", "venueName": "De La Warr Pavilion (Bexhill on Sea, UK)", "venueWebsiteUrl": "http://www.dlwp.com/" }, { "dateText": "12 April 2019 – 23 June 2019", "endDate": "2019-06-23", "id": 12530, "startDate": "2019-04-12", "venueName": "Camden Arts Centre (London, UK)", "venueWebsiteUrl": null } ], "id": 9816, "startDate": "2018-10-06", "title": "Grace Pailthorpe and Reuben Mednikoff", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "15 February 2024 – 15 February 2026", "endDate": "2026-02-15", "exhibitionLegs": [ { "dateText": "4 September 2024 – 13 January 2025", "endDate": "2025-01-13", "id": 15426, "startDate": "2024-09-04", "venueName": "Musée National d’Art Moderne - Centre Pompidou (Paris, France)", "venueWebsiteUrl": "http://www.centrepompidou.fr" }, { "dateText": "4 February 2025 – 11 May 2025", "endDate": "2025-05-11", "id": 15707, "startDate": "2025-02-04", "venueName": "Fundacíon Mapfre (Madrid, Spain)", "venueWebsiteUrl": null }, { "dateText": "12 June 2025 – 12 October 2025", "endDate": "2025-10-12", "id": 15706, "startDate": "2025-06-12", "venueName": "Hamburger Kunsthalle (Hamburg, Germany)", "venueWebsiteUrl": "http://www.hamburger-kunsthalle.de" } ], "id": 12665, "startDate": "2024-02-15", "title": "Surréalisme", "type": "Loan-out" } ]	May 16, 1941	1,941	Tate	1941		CLEARED	6	support: 303 × 405 mm frame: 381 × 483 × 27 mm	accessioned work	Tate	Purchased 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>May 16th, 1941 </i>is a landscape format oil painting on canvas board dominated by a suspended reclining figure of a foetus. Eyes, mouth, stump arms and genitalia are schematically represented, as is the placenta. The figure is suspended in what appears to be a light blue sky and the lower right corner of the painting is bisected by an area of green over which other forms hang from the baby, including a trio of claws or talons. A simplified red animal with a mane and a long tail is perched on the upturned tail or leg stump of the foetus.<i> </i>The painting was made in New York after Pailthorpe and her partner, the artist Reuben Mednikoff (1906–1972), moved there from London in 1940. Its title indicates the date of the work’s making, as was the artist’s custom.</p>\n<p>Liberation of man achieved through a liberation of the repressed unconscious was Pailthorpe’s declared goal and from 1938 the imagery of her paintings explored an intra-uterine regression and a concern with portraying life at its earliest stages – where the baby is dependent on the mother for life and sustenance. A group of forty-two paintings and drawings created between 23 April and 11 May 1938, described as the <i>Birth Trauma</i> series, built on her response to the principles of Object Relations theory that had been developed by the psychoanalyst Melanie Klein, and was the subject of two lectures written by Pailthorpe in 1938 and 1940 (papers regarding the two lectures and the analysis leading to them are contained in the Grace Pailthorpe / Reuben Mednikoff Archive, Scottish National Gallery of Modern Art, Edinburgh, GMA A62/1/069 and A62/1/021). This broad subject formed the basis of much of her subsequent work until the early 1940s and <i>May 16th, 1941 </i>is an example of how this series spread into her work during this period. The picture develops some of the imagery found in the slightly earlier <i>April 20, 1940 (The Blazing Infant)</i> 1940 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/pailthorpe-april-20-1940-the-blazing-infant-t14514\" title=\"View the details of this artwork\"><span>T14514</span></a>).</p>\n<p>A surgeon during the First World War, Pailthorpe afterwards trained in psychological medicine and criminal psychology before commencing personal analysis under Dr Ernest Jones in 1923. In 1930 she became associated with the Mandrake Press and Aleister Crowley, in which context five years later in February 1935 she met Reuben Mednikoff. Within a few months they were living together in Cornwall where they commenced collaborative research and work in psychology and art. In June 1936 works by the two artists were included in the <i>International Surrealist Exhibition</i> in London and from this date until 1940 they were key members of the British Surrealist Group.</p>\n<p>Pailthorpe was alert to unconscious colour symbolism in her work, which the <i>Birth Trauma</i> and subsequent related works including <i>May 16th, 1941</i> and the earlier <i>December 4th, 1938</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/pailthorpe-december-4th-1938-t15033\" title=\"View the details of this artwork\"><span>T15033</span></a>) appear to approach quite consistently. Blue in both paintings refers to the amniotic fluid of the womb, the yellow in <i>December 4th, 1938</i> represents the outside light beyond the womb – aspects of the colour meaning being outlined in her lectures. These two paintings span the climax of Pailthorpe and Mednikoff’s collaborative endeavour that was first widely publicised through the publication of Pailthorpe’s essay ‘The Scientific Aspect of Surrealism’ in the <i>London Bulletin</i> – the organ at the time of the British Surrealist group (<i>London</i> <i>Bulletin</i>, no.7, Deecember 1938–January 1939) – and the subsequent joint exhibition mounted at Guggenheim Jeune gallery, London in January 1939. In both her essay and the introduction written for their exhibition catalogue, Pailthorpe declared that surrealism and psychoanalysis in common ‘strive to free the psychology of the individual from internal conflict so that she or he may function freely’ – this she defined as ‘the liberation of man’. Furthermore, she stated that the expression of ‘unconscious fantasy’ could be unlocked and interpreted – ‘not a line or detail is out of place and everything has its symbolic meaning. This also applies to colour. Every mark, shape and colour is intended by the unconscious and has its meaning.’ (Reprinted in Leeds City Art Gallery 1998, pp.97–103.) Each painting, watercolour and drawing she and Mednikoff produced allowed the unconscious free rein. Subsequently they both offered analytical interpretation of their own and each other’s work, and these texts were presented alongside their work at Guggenheim Jeune using much the same language as Pailthorpe employed in ‘The Scientific Aspect of Surrealism’. Nevetheless, their allegiance to surrealism as a therapeutic tool drew fire from other surrealists for whom automatism was a way of liberating language and not strictly a means to unlock and study the unconscious within a therapeutic context, something other surrealists held to be socially repressive. In 1940 both Pailthorpe and Mednikoff were expelled from the British Surrealist group and in June that year they left London for America, where they lived until 1946.</p>\n<p>By the time that she painted <i>May 16, 1941</i>, Pailthorpe and Mednikoff had been living in Berkeley, California where she was following research work. On leaving Britain they had initially settled in New York, moving to California in December 1940. Not long before leaving the country,<i> </i>they had ceased their formal association with the British Surrealist group. In March she and Mednikoff had sent out letters of invitation to the group seeking their participation in an exhibition of surrealism at London’s British Art Centre for June that year, in an attempt to increase the group’s level of activity that had tailed off since the closure of the London Gallery in July 1939. They then convened a meeting of the group at the Barcelona Restaurant on 11 April to suggest that the group be reformed free of any political or other bias. E.L.T. Mesens (1903–1971), the de facto leader of the surrealists in Britain, countered this attack on his authority and, following a number of subsequent meetings later that summer, engineered the departure from the Surrealist group not only of Pailthorpe and Mednikoff, but also Ithell Colquhoun (1906–1988).</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>G.W. Pailthorpe and R. Mednikoff</i>, exhibition catalogue, Guggenheim Jeune, London 1939.<br/>\n<i>Sluice Gates of the Mind: The Collaborative Work of Pailthorpe and Mednikoff</i>, exhibition catalogue, Leeds City Art Gallery 1998.<br/>Michel Remy, <i>Surrealism in Britain</i>, Aldershot 1999.</p>\n<p>Andrew Wilson<br/>November 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-05-09T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>A surgeon during the First World War, Pailthrope later trained in psychological medicine and criminal psychology before undergoing Freudian analysis. With her partner, Reuben Mednikoff, she made paintings which they submitted to detailed analysis. They showed in the 1936 <i>International Surrealist Exhibition</i> in London, and, in 1940, moved to the United States, where Pailthorpe made this painting. Unconscious images from the earliest moments of life fill her work, here in the form of an unborn foetus. She wrote of their research that ‘Surrealism can lead to a greater understanding of the world around and within us’.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2022-02-14T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]	[ "abstraction", "birth", "birth to death", "body", "education, science and learning", "embryo / foetus", "emotions and human qualities", "emotions, concepts and ideas", "figure", "from recognisable sources", "orifice", "people", "psychology, Klein, Melanie", "society", "subconscious" ]	null	false	2446 146 93 149 6472 31 221 189 16365 19421 6780	true		artwork
Oil paint on canvas	[ { "append_role_to_name": false, "date": "1906–1972", "fc": "Reuben Mednikoff", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/reuben-mednikoff-1617" } ]	120,795	[ { "id": 999999876, "shortTitle": "Tate Britain" }, { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999872, "shortTitle": "Works on display" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,937	<a href="https://www.tate.org.uk/art/artists/reuben-mednikoff-1617" aria-label="More by Reuben Mednikoff" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Reuben Mednikoff</a>	December 31 1937 800pm Oompah	2,018		[]	Purchased 2018	T15035	{ "id": 6, "meta": { "type": "art.Classification" } }		1688	7011781 7008136 7002445 7008591 7011493 7008129	Reuben Mednikoff	1,937	[ { "archiveItemCount": 1, "id": 184, "level": 1, "name": "abstraction", "parent_id": 1, "workCount": 8614 }, { "archiveItemCount": 39, "id": 2446, "level": 3, "name": "birth", "parent_id": 146, "workCount": 38 }, { "archiveItemCount": 749, "id": 146, "level": 2, "name": "birth to death", "parent_id": 145, "workCount": 723 }, { "archiveItemCount": 1628, "id": 93, "level": 2, "name": "body", "parent_id": 91, "workCount": 3250 }, { "archiveItemCount": 46, "id": 2371, "level": 3, "name": "breast", "parent_id": 93, "workCount": 57 }, { "archiveItemCount": 60, "id": 549, "level": 3, "name": "drinking", "parent_id": 48, "workCount": 207 }, { "archiveItemCount": 0, "id": 48, "level": 2, "name": "eating and drinking", "parent_id": 47, "workCount": 409 }, { "archiveItemCount": 829, "id": 149, "level": 2, "name": "education, science and learning", "parent_id": 145, "workCount": 587 }, { "archiveItemCount": 3337, "id": 31, "level": 2, "name": "emotions and human qualities", "parent_id": 29, "workCount": 2008 }, { "archiveItemCount": 5302, "id": 29, "level": 1, "name": "emotions, concepts and ideas", "parent_id": 1, "workCount": 11114 }, { "archiveItemCount": 0, "id": 6904, "level": 2, "name": "family", "parent_id": 145, "workCount": 602 }, { "archiveItemCount": 391, "id": 221, "level": 3, "name": "figure", "parent_id": 189, "workCount": 1879 }, { "archiveItemCount": 1, "id": 189, "level": 2, "name": "from recognisable sources", "parent_id": 184, "workCount": 3633 }, { "archiveItemCount": 0, "id": 47, "level": 1, "name": "leisure and pastimes", "parent_id": 1, "workCount": 3435 }, { "archiveItemCount": 168, "id": 6924, "level": 3, "name": "mother and child", "parent_id": 6904, "workCount": 226 }, { "archiveItemCount": 0, "id": 91, "level": 1, "name": "people", "parent_id": 1, "workCount": 22072 }, { "archiveItemCount": 0, "id": 19421, "level": 3, "name": "psychology, Klein, Melanie", "parent_id": 149, "workCount": 5 }, { "archiveItemCount": 428, "id": 3050, "level": 3, "name": "sex", "parent_id": 157, "workCount": 129 }, { "archiveItemCount": 0, "id": 157, "level": 2, "name": "sex and relationships", "parent_id": 145, "workCount": 833 }, { "archiveItemCount": 0, "id": 145, "level": 1, "name": "society", "parent_id": 1, "workCount": 15153 }, { "archiveItemCount": 15, "id": 6780, "level": 3, "name": "subconscious", "parent_id": 31, "workCount": 47 } ]	<p><span>December 31, 1937, 8.00pm (Oompah)</span> is a landscape format oil painting on canvas. The background of the painting is divided vertically by a jagged white line – the right two thirds being a flatly painted yellow ground and the left third a dark blue-green. Represented against a yellow field is the semi-naked torso of a woman with breasts exposed, a white chemise under her breasts and her right upper thigh apparently clothed in a snuggly fitting dark fabric. Balancing on her thigh is a red baby or sprite figure with a white band around his waist. A long sharply pointed phallus penetrates and ejaculates through the chemise. His thin long arms reach out, holding onto and pushing against the woman’s right breast; his head arcs back, two drops of milk hanging above his open mouth. The work is titled after the date of its making, as was the artist’s custom, and while Mednikoff was living in Cornwall with his artist partner, Grace Pailthorpe (1883–1971).</p>	false	1	https://media.tate.org.u…15/T15035_10.jpg	1617	painting oil paint canvas	[ { "artistRoomsTour": false, "dateText": "6 October 2018 – 23 June 2019", "endDate": "2019-06-23", "exhibitionLegs": [ { "dateText": "6 October 2018 – 20 January 2019", "endDate": "2019-01-20", "id": 11932, "startDate": "2018-10-06", "venueName": "De La Warr Pavilion (Bexhill on Sea, UK)", "venueWebsiteUrl": "http://www.dlwp.com/" }, { "dateText": "12 April 2019 – 23 June 2019", "endDate": "2019-06-23", "id": 12530, "startDate": "2019-04-12", "venueName": "Camden Arts Centre (London, UK)", "venueWebsiteUrl": null } ], "id": 9816, "startDate": "2018-10-06", "title": "Grace Pailthorpe and Reuben Mednikoff", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "31 October 2022", "endDate": null, "exhibitionLegs": [ { "dateText": "31 October 2022", "endDate": null, "id": 13426, "startDate": "2022-10-31", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 11060, "startDate": "2022-10-31", "title": "Gallery 3", "type": "Collection based display" } ]	December 31, 1937, 8.00pm (Oompah)	1,937	Tate	1937		CLEARED	6	support: 510 × 765 mm frame: 620 × 873 × 52 mm	accessioned work	Tate	Purchased 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>December 31, 1937, 8.00pm (Oompah)</i> is a landscape format oil painting on canvas. The background of the painting is divided vertically by a jagged white line – the right two thirds being a flatly painted yellow ground and the left third a dark blue-green. Represented against a yellow field is the semi-naked torso of a woman with breasts exposed, a white chemise under her breasts and her right upper thigh apparently clothed in a snuggly fitting dark fabric. Balancing on her thigh is a red baby or sprite figure with a white band around his waist. A long sharply pointed phallus penetrates and ejaculates through the chemise. His thin long arms reach out, holding onto and pushing against the woman’s right breast; his head arcs back, two drops of milk hanging above his open mouth. The work is titled after the date of its making, as was the artist’s custom, and while Mednikoff was living in Cornwall with his artist partner, Grace Pailthorpe (1883–1971).</p>\n<p>Mednikoff first met Pailthorpe in February 1935 and within a few months they had moved to Cornwall where they commenced collaborative research and work in psychology and art. In June 1936 works by the two artists were included in the <i>International Surrealist Exhibition</i> in London and from this date until 1940 they were key members of the British Surrealist group. In 1939 Guggenheim Jeune, London held a joint exhibition of their work in which <i>December 31, 1937, 8.00pm (Oompah)</i> was included (no.43).<i> </i>This exhibition followed the publication of Pailthorpe’s article ‘The Scientific Aspect of Surrealism’ (<i>London Bulletin</i>, no.7, December 1938−January 1939) in which she declared that both surrealism and psychoanalysis ‘strive to free the psychology of the individual from internal conflict so that she or he may function freely’ – this she defined as ‘the liberation of man’. Furthermore, she stated that the expression of ‘unconscious fantasy’ could be unlocked and interpreted – ‘not a line or detail is out of place and everything has its symbolic meaning. This also applies to colour. Every mark, shape and colour is intended by the unconscious and has its meaning.’ (Reprinted in Leeds City Art Gallery 1998, pp.97−103.) Each painting, watercolour and drawing Pailthorpe and Mednikoff produced allowed the unconscious free rein. Subsequently they both offered analytical interpretation of their own and each other’s work, and these texts were presented alongside their work at Guggenheim Jeune using much the same language as Pailthorpe employed in ‘The Scientific Aspect of Surrealism’. Nevetheless, their allegiance to a surrealism as a therapeutic tool drew fire from other surrealists for whom automatism was a way of liberating language and not strictly a tool to unlock and study the unconscious within a therapeutic context, which they held to be socially repressive.</p>\n<p>One strong theme running through Mednikoff and Pailthorphe’s work was a concern with the period before birth, in the womb, and also early childhood, as in <i>December 31, 1937, 8.00pm (Oompah)</i> where the child as a form of sprite is born of, attached to, impregnating and being nourished by the mother. This painting shows how Mednikoff created hybrid human/animal figures for his paintings that were firmly located in the world of the nursery dream and the carnivalesque. In each painting, children both play and are punished; each presents images of nourishment from the breast and the expulsion of waste matter.</p>\n<p>The imagery of Mednikoff and Pailthorpe’s work was, on the whole, amongst the most shocking and violent produced by any of the artists within the British Surrealist group; even more so for its autobiographical coherence – found in Mednikoff’s anal sadism as much as both artists unpicking of childhood trauma or progression towards intra-uterine regression. The relationship that is played out here between birth and sleep, the playroom aspects of eating, vomiting, defecating, copulating and pissing, seem sharply rooted to immediately felt experience.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>G.W. Pailthorpe and R. Mednikoff</i>, exhibition catalogue, Guggenheim Jeune, London 1939.<br/>\n<i>Sluice Gates of the Mind: The Collaborative Work of Pailthorpe and Mednikoff</i>, exhibition catalogue, Leeds City Art Gallery 1998.<br/>Michel Remy, <i>Surrealism in Britain</i>, Aldershot 1999</p>\n<p>Andrew Wilson<br/>November 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-05-09T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Reuben Mednikoff was interested in surrealism and psychoanalysis. In this work he explores the relationship between mother and child. A child-creature hybrid is attached to the mother’s exposed breast. The creature’s long arms reach out, holding and pushing the woman’s breast as he penetrates and ejaculates through her undergarment. The work suggests this relationship is like that that of a lover, since the child-creature is born of, attached to, impregnates and is nourished by the same figure. The title is the date the work was made, an approach the artist often used.</p>\n</div>\n", "display_name": "Online caption", "publication_date": "2023-12-04T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]	[ "abstraction", "birth", "birth to death", "body", "breast", "drinking", "eating and drinking", "education, science and learning", "emotions and human qualities", "emotions, concepts and ideas", "family", "figure", "from recognisable sources", "leisure and pastimes", "mother and child", "people", "psychology, Klein, Melanie", "sex", "sex and relationships", "society", "subconscious" ]	null	false	2446 146 93 2371 549 48 149 31 6904 221 189 6924 19421 3050 157 6780	true		artwork
Oil paint on canvas	[ { "append_role_to_name": false, "date": "born 1973", "fc": "Rosalind Nashashibi", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/rosalind-nashashibi-7347" } ]	120,796	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999780, "shortTitle": "Tate Patrons" }, { "id": 999999956, "shortTitle": "Collection" } ]	2,016	<a href="https://www.tate.org.uk/art/artists/rosalind-nashashibi-7347" aria-label="More by Rosalind Nashashibi" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Rosalind Nashashibi</a>	In Vivians Garden	2,018		[]	Presented by Tate Patrons 2018	T15036	{ "id": 6, "meta": { "type": "art.Classification" } }			7012088 7008136 7002445 7008591	Rosalind Nashashibi	2,016	[]	<p><span>In Vivian’s Garden </span>is an abstract landscape painting made in<span> </span>2016 in direct response to the process and environment which Nashashibi experienced during the making of her film <span>Vivian’s Garden </span>2017 in Guatemala. The film is also in Tate’s collection (Tate T15055); over thirty minutes, it depicts the relationship between two Swiss /Austrian émigré artists who are mother and daughter – Elisabeth Wild (born 1922) and Vivian Suter (born 1949) – in the connected houses they share in a jungle garden in Panajachel, Guatemala, where they have developed a matriarchal compound in an environment that is both idyllic and somewhat threatening. The painting consists of two violet, ovoid forms that fill the right-hand side of the canvas and sit atop a lime-green wash of swirled paint on a black ground. From the lower of the two violet shapes extends a thin tube or tendril which, as it reaches to the far left of the canvas, feels almost plant-like or biological in the way that it twists and contorts. At the very bottom of the canvas, the whole of the lower section of its composition is reflected or mirrored, as though the entire canvas is sitting on water or some other reflective surface. Although completely abstract in its composition, the painting resonates strikingly with the content and atmosphere of the <span>Vivian’s Garden </span>film. Its watery tones and the slight translucency of all its forms, combined with the swirling waves of paint and the natural colour palette, evoke the feeling of a jungle or dense garden at various times of the day, from dusk until nightfall. In doing so, the painting presents a different – but interconnected – depiction of Nashashibi’s time in Guatemala, as she has explained:</p>	false	1	https://media.tate.org.u…T15/T15036_9.jpg	7347	painting oil paint canvas	[]	In Vivian’s Garden	2,016	Tate	2016		CLEARED	6	support: 604 × 904 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> 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>In Vivian’s Garden </i>is an abstract landscape painting made in<i> </i>2016 in direct response to the process and environment which Nashashibi experienced during the making of her film <i>Vivian’s Garden </i>2017 in Guatemala. The film is also 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/nashashibi-vivians-garden-t15055\" title=\"View the details of this artwork\"><span>T15055</span></a>); over thirty minutes, it depicts the relationship between two Swiss /Austrian émigré artists who are mother and daughter – Elisabeth Wild (born 1922) and Vivian Suter (born 1949) – in the connected houses they share in a jungle garden in Panajachel, Guatemala, where they have developed a matriarchal compound in an environment that is both idyllic and somewhat threatening. The painting consists of two violet, ovoid forms that fill the right-hand side of the canvas and sit atop a lime-green wash of swirled paint on a black ground. From the lower of the two violet shapes extends a thin tube or tendril which, as it reaches to the far left of the canvas, feels almost plant-like or biological in the way that it twists and contorts. At the very bottom of the canvas, the whole of the lower section of its composition is reflected or mirrored, as though the entire canvas is sitting on water or some other reflective surface. Although completely abstract in its composition, the painting resonates strikingly with the content and atmosphere of the <i>Vivian’s Garden </i>film. Its watery tones and the slight translucency of all its forms, combined with the swirling waves of paint and the natural colour palette, evoke the feeling of a jungle or dense garden at various times of the day, from dusk until nightfall. In doing so, the painting presents a different – but interconnected – depiction of Nashashibi’s time in Guatemala, as she has explained: </p>\n<p class=\"cttext\">\n</p><blockquote>Painting is a very direct way of moving forward with my thinking. It takes place privately and happens when I want it to, where I am, where forms and colours and visual ideas relate to and change one another under my hand – what I am talking about is a constant development, without much pre-planning, much like my filmmaking but unlike it in that aspect of instantaneous progression. That is true whether painting from a sketch or without any pre-established direction. Often a visual structure may be formed in my mind from a passage in a novel … or from a photograph … or from a drawing of mine such as <i>In Vivian’s Garden. </i>Equally another painting might be a starting point, Matisse’s <i>Tea in the Garden</i> is the guide of a painting I am working on now, and my daughter’s paintings have influenced other works.<br/>(Rosalind Nashashibi in email correspondence with Tate curator Laura Smith, 5 June 2017.)</blockquote>\n<p>Nashashibi returned to painting after an encounter with the Swiss artist Renée Levi (born 1960) with whom she exhibited in a two-woman show at the Galerie Marcelle Alix in Paris in 2013. Levi had made a series of very large abstract paintings consisting of brown ovoid forms, like stones, positioned scatologically. Following a conversation between the two artists, it transpired that Levi had made the paintings in direct response to Nashashibi’s film for the exhibition, a video called <i>Carlo’s Vision</i> 2011. For Nashashibi, Levi’s response suggested another way of looking at filmic and painterly production that was unexpected, and encouraged her to see that she could also make abstract paintings from thinking about films. She has described her endeavour as making abstract, gestural works that are nevertheless concrete replies to a proposition or narrative: </p>\n<p class=\"cttext\">\n</p><blockquote>Levi made painting seem possible, as abstraction could come from anywhere just like my films, it could come from being moved by something completely different from itself, something that isn’t completely understood – or doesn’t need to be articulated, other than in the painted response. This is what I have also loved about filming situations without planning first … I hope that it’s clear from my films that I am using the medium to take a closer look, to find a way to present and so reveal to myself the forces and rhythms that combine to form an experience that I have had. That is something that an initial look at footage just back from the lab cannot capture: the layers of reality that we are aware of when fully present in an encounter and <i>not</i> looking through a camera, the layers of responses our body, emotions and memory make to a moment in time, place and a social action. So with films I want to present what recently happened in its multiple realities, some of which are visible and others that are not simply visible, or directly showable. The aim in the films and the paintings is to come across the immanence in forms, things, in transactions and in between them, something that comes through allowing experience of the present time and conditions to permeate through my looking.<br/>(Ibid.)</blockquote>\n<p>\n<b>Further reading</b>\n<br/>Francis McKee, <i>Rosalind Nashashibi</i>, Fruitmarket Gallery, Edinburgh 2003.<br/>Herbert Martin and Rosalind Nashashibi, <i>Rosalind Nashashibi</i>, Institute of Contemporary Arts, London 2009.<br/>Quinn Latimer and Adam Szymczyk, <i>Documenta Daybook,</i> Munich 2017.</p>\n<p>Laura Smith<br/>November 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-09-05T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Oil paint on canvas	[ { "append_role_to_name": false, "date": "born 1945", "fc": "Maggi Hambling", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/maggi-hambling-1242" } ]	120,797	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	2,016	<a href="https://www.tate.org.uk/art/artists/maggi-hambling-1242" aria-label="More by Maggi Hambling" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Maggi Hambling</a>	2016	2,018		[]	Presented by the artist in honour of Maria Balshaw 2018	T15037	{ "id": 6, "meta": { "type": "art.Classification" } }			1136703 7008185 7002445 7008591	Maggi Hambling	2,016	[ { "archiveItemCount": 6, "id": 17864, "level": 3, "name": "aerial view", "parent_id": 6729, "workCount": 115 }, { "archiveItemCount": 273, "id": 678, "level": 3, "name": "boat - non-specific", "parent_id": 161, "workCount": 1930 }, { "archiveItemCount": 5302, "id": 29, "level": 1, "name": "emotions, concepts and ideas", "parent_id": 1, "workCount": 11114 }, { "archiveItemCount": 3599, "id": 6729, "level": 2, "name": "formal qualities", "parent_id": 29, "workCount": 8855 }, { "archiveItemCount": 483, "id": 557, "level": 3, "name": "sea", "parent_id": 73, "workCount": 2874 }, { "archiveItemCount": 1171, "id": 73, "level": 3, "name": "seascapes and coasts", "parent_id": 60, "workCount": 6814 }, { "archiveItemCount": 13, "id": 5656, "level": 3, "name": "shipwreck", "parent_id": 161, "workCount": 205 }, { "archiveItemCount": 0, "id": 145, "level": 1, "name": "society", "parent_id": 1, "workCount": 15153 }, { "archiveItemCount": 54, "id": 8577, "level": 3, "name": "texture", "parent_id": 6729, "workCount": 412 }, { "archiveItemCount": 472, "id": 161, "level": 2, "name": "transport: water", "parent_id": 145, "workCount": 7543 }, { "archiveItemCount": 85, "id": 2104, "level": 3, "name": "wave", "parent_id": 73, "workCount": 642 } ]	<p><span>2016 </span>depicts a boat sinking below the surface of the ocean. The seascape viewed from above mimics a photograph captured from a hovering press helicopter. Hambling painted this work in response to media images of asylum seekers drowning in the Mediterranean Sea. ‘I kept seeing pictures… Boats were being abandoned by the traffickers and left to drift and disappear,’ she recalled. Hambling made the work over the course of 2016.</p><p><em>Gallery label, May 2019</em></p>	false	1	https://media.tate.org.u…T15/T15037_9.jpg	1242	painting oil paint canvas	[ { "artistRoomsTour": false, "dateText": "29 April 2022 – 25 September 2022", "endDate": "2022-09-25", "exhibitionLegs": [ { "dateText": "29 April 2022 – 25 September 2022", "endDate": "2022-09-25", "id": 14868, "startDate": "2022-04-29", "venueName": "Hastings Contemporary (Hastings, UK)", "venueWebsiteUrl": null } ], "id": 12225, "startDate": "2022-04-29", "title": "Seafaring", "type": "Loan-out" } ]	2016	2,016	Tate	2016		CLEARED	6	support: 2135 × 1827 mm	accessioned work	Tate	Presented by the artist in honour of Maria Balshaw 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Entitled<i> 2016</i>,<i> </i>the year it was made, this painting depicts a golden boat sinking below the surface of the ocean. The composition’s central subject is a chaotic tumble of black, white, gold and flesh-toned colours, suggesting the boat’s inhabitants are spilling over its edges into the water. To create the effect of submersion, the artist appears to have loaded up a palette knife with daubs of thick white hues and scraped it along textured layers of already-dried oil paint. The remainder of the canvas is filled with choppy waves that extend outwards into a seascape viewed from above. This bird’s eye perspective mimics the framing of aerial view photography as captured from a hovering press helicopter.</p>\n<p>Hambling did not paint <i>2016</i> directly from a photographic source, but has described the work as an amalgamation of various images circulating in the media at the time of asylum seekers drowning at sea. She has explained, ‘I kept seeing pictures, on television and elsewhere, of these people, and hearing on the news that a whole boat had gone down … Boats were being abandoned by the traffickers and left to drift and disappear.’ (Hambling quoted in Cahill 2017, p.1). Hambling made the painting slowly throughout 2016, a year in which the media’s portrayal of the European migrant crisis was a key factor in world events such as Brexit in the United Kingdom and the election of Donald Trump as President of the United States. The title therefore relates both to the act of making and the political conditions which surrounded it. </p>\n<p>Hambling began painting large scale seascapes in 2002 after encountering a storm rampaging on the Suffolk coast. She said: ‘I try to paint as if I'm in the sea or very close to it, rather than observing from a distance. At any moment it could engulf me. The sea, after all, <i>is</i> terrifying’ (Hambling 2006, p.231). <i>2016</i> marks a new direction in Hambling's depiction of the ocean, from an awe-inspired expression of the dramatic capabilities of the natural world to a metaphor of political uncertainty. It was first exhibited in the solo show <i>Maggi Hambling: Edge</i> which, in addition to a small number of intimate portraits, featured paintings that responded to other global issues such as the war in Syria and melting icecaps.</p>\n<p>\n<b>Further reading</b>\n<br/>Andrew Lambirth, interview with Maggi Hambling, in <i>Maggi Hambling: The Works</i>, London 2006.<br/>James Cahill, <i>Maggi Hambling: Edge</i>,<i> </i>exhibition catalogue, Marlborough Fine Art, London 2017. </p>\n<p>Laura Castagnini<br/>December 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-10-28T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>2016 </i>depicts a boat sinking below the surface of the ocean. The seascape viewed from above mimics a photograph captured from a hovering press helicopter. Hambling painted this work in response to media images of asylum seekers drowning in the Mediterranean Sea. ‘I kept seeing pictures… Boats were being abandoned by the traffickers and left to drift and disappear,’ she recalled. Hambling made the work over the course of 2016.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2019-05-08T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]	[ "aerial view", "boat - non-specific", "emotions, concepts and ideas", "formal qualities", "sea", "seascapes and coasts", "shipwreck", "society", "texture", "transport: water", "wave" ]	null	false	17864 678 557 73 5656 8577 161 2104	false		artwork
Video, 3 monitors, black and white with sound and 15 photographs, gelatin silver prints on paper	[ { "append_role_to_name": false, "date": "1945–2004", "fc": "Elsa Stansfield", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/elsa-stansfield-26316" }, { "append_role_to_name": false, "date": "born 1942", "fc": "Madelon Hooykaas", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/madelon-hooykaas-26317" } ]	120,804	[ { "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" } ]	1,976	<a href="https://www.tate.org.uk/art/artists/elsa-stansfield-26316" aria-label="More by Elsa Stansfield" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Elsa Stansfield</a>, <a href="https://www.tate.org.uk/art/artists/madelon-hooykaas-26317" aria-label="More by Madelon Hooykaas" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Madelon Hooykaas</a>	Journeys	2,018		[]	Presented by Tate Members 2018	T15039	{ "id": 3, "meta": { "type": "art.Classification" } }			7019097 7002444 7008591 7006952 7006951 7016845	Elsa Stansfield, Madelon Hooykaas	1,976	[]	<p><span>Journeys</span> 1976 is a video and photographic installation comprising three black and white videos on monitors inset into the wall, and ten black and white photographs with accompanying text panels that together wrap around the two main walls of the corridor shaped room. The installation was first exhibited in 1976 at the Whitechapel Art Gallery in London. The photographs are stills taken at the same time the three films were made; one wall is made up of portrait photographs and texts, while the opposite wall shows three groups of photographs, separated by the three monitors. The photographs on this wall in effect echo the narratives contained within the three videos: intervention in nature; a journey between city and countryside ending at London’s Aldgate East station, with views of the Whitechapel Art Gallery; and a shopkeeper (opposite the Whitechapel Art Gallery) recounting a journey of marriage and immigration.</p>	false	1	https://media.tate.org.u…T15/T15039_9.jpg	26316 26317	installation video 3 monitors black white sound 15 photographs gelatin silver prints paper	[]	Journeys	1,976	Tate	1976		CLEARED	3	Displayed dimensions variable	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> 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Journeys</i> 1976 is a video and photographic installation comprising three black and white videos on monitors inset into the wall, and ten black and white photographs with accompanying text panels that together wrap around the two main walls of the corridor shaped room. The installation was first exhibited in 1976 at the Whitechapel Art Gallery in London. The photographs are stills taken at the same time the three films were made; one wall is made up of portrait photographs and texts, while the opposite wall shows three groups of photographs, separated by the three monitors. The photographs on this wall in effect echo the narratives contained within the three videos: intervention in nature; a journey between city and countryside ending at London’s Aldgate East station, with views of the Whitechapel Art Gallery; and a shopkeeper (opposite the Whitechapel Art Gallery) recounting a journey of marriage and immigration.</p>\n<p>Against an electronic soundtrack, the first monitor shows a slide sequence of breaking waves which is then followed by a panning shot across a countryside landscape of fields with roads cutting through it. Cutting from a shot of ditch diggers, the video pans across ploughed fields next to a road (the soundtrack evoking the sound of car traffic). The video then cuts to a sequence of people walking in the countryside – first a woman carrying firewood and then a couple walking a dog. This cuts to a view of a road that bisects the screen vertically, with a footpath sign at bottom left; as a car appears in the distance the camera pulls back. This then cuts to a final panning sequence moving from woodland and fields to a road with cars and then a construction site for a motorway. The video ends with a silent slide sequence of road construction workers and road-surfacing machines, followed by panning shots over a ploughed field and the finished motorway.</p>\n<p>The second monitor also uses an electronic soundtrack and its subject is a passage through the city of London; it starts with a car on the approach road to the south terminal of the Woolwich Ferry in South East London, before panning across the John Burns Ferry vessel crossing the river and shots of a cargo vessel crossing the screen in front of the docked ferry boat. This then cuts to a view of the dock from the ferry as it arrives at the north pier, before cars then come off the ferry and the view shifts to scenes shot from the driving car as it proceeds to just opposite the Whitechapel Art Gallery in London’s East End. This is followed by a silent slide sequence of portraits of the newsvendor outside Aldgate East tube station, of shopkeepers and waiters at Blooms restaurant, as well as different shopfronts on Whitechapel High Street. </p>\n<p>The third monitor commences with a view from the inside of a tailor’s shop, looking out through its front window to the street outside and to the Whitechapel Art Gallery beyond. From this, the view pans away from the window and into the shop as customers come in. While the film concentrates on tailors making trousers and sewing pockets, the soundtrack is drawn from an interview with the shop’s owner, Violet Spink, as she recounts her journey from a childhood in Hong Kong – with her Yorkshire-born father, her Chinese mother and her Yorkshire husband – to London. The video ends with a credit sequence titling the work as <i>“Journeys” to the East End of London</i>.</p>\n<p>Elsa Stansfield and Madelon Hooykaas began collaborating in 1972 and were at the forefront of video production in Europe during the 1970s. After making work for Dutch television, in 1975 they started producing video installations under the name Stansfield/Hooykaas. Their work centred around an interest in natural phenomena and landscape, and <i>Journeys</i> addresses this through its contrast between the city and the countryside, and between the road and the river. Writing in the exhibition handout for Whitechapel Art Gallery, they described this work as:</p>\n<p class=\"cttext\">\n</p><blockquote>An exploration and an impression, through video, of three aspects of journeys. We see how technology penetrates into nature and transforms it, from The ploughed earth, to The road, to The City. People are the threads that link these themes. They migrate as if drawn by a magnet towards the metropolis. In London and in particular the East End, there are many generations of these settlers.<br/>(In <i>Elsa Stansfield & Madelon Hooykaas, ‘Journeys’ Video Work</i>, exhibition leaflet, Whitechapel Art Gallery, London 1976.)</blockquote>\n<p>The themes described here, the principles of social and ecological change alongside with their associated phenomena, became a staple for Stansfield/Hooykaas, echoing in many ways the growth and development of the wider ecological movement through the 1970s. <i>Journeys</i> also exemplifies the degree to which they investigated this subject matter through a combination of media – here video, photography and text – in such a way as to offer the possibility for a multiplicity of readings of their work. Video, in many respects, was always associated with television (their first works being conceived for television) and the environments and installation works they subsequently made – of which <i>Journeys</i> is one of the earliest – are structured and conceived in a such a way as to distance the work from a single authoritative voice. Instead, the use of video alongside other media was fundamentally also an attempt by them to democratise the act of looking.</p>\n<p>\n<i>Journeys</i> is a unique work as neither the video nor the photographs were editioned. It is displayed in its own space.</p>\n<p>\n<b>Further reading</b>\n<br/>Else Madelon Hooykaas and Elsa Stansfield, <i>‘Labyrinth’ Video-environment</i>, exhibition catalogue, ICC, Antwerp 1978.<br/>Madelon Hooykaas and Claire van Putten (eds.), <i>Revealing the Invisible – The Art of Stansfield/Hooykaas from Different Perspectives</i>, Amsterdam 2010.</p>\n<p>Andrew Wilson<br/>April 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-05-09T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Cotton mop heads and steel	[ { "append_role_to_name": false, "date": "born 1969", "fc": "Alexandre da Cunha", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/alexandre-da-cunha-8786" } ]	120,806	[ { "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" } ]	2,017	<a href="https://www.tate.org.uk/art/artists/alexandre-da-cunha-8786" aria-label="More by Alexandre da Cunha" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Alexandre da Cunha</a>	Kentucky Biombo	2,018		[]	Presented by Tate Members 2018	T15040	{ "id": 8, "meta": { "type": "art.Classification" } }			7008591 1000047 1000002	Alexandre da Cunha	2,017	[]	<p><span>Kentucky (Biombo)</span> 2017 is a large undulating screen wall made with mop heads (a material the artist has used before) that mimics a mid-twentieth-century architectural feature. The work hangs from a suspended metal bar. It is the result of careful manipulation and rearrangement of sections of mop heads produced in England. Complex nodes form a subtle surface pattern or relief, which references macramé, a form of textile produced using knotting techniques rather than weaving or knitting. The work was realised in response to an invitation to exhibit at PIVÔ in São Paulo, an important modernist building built by Oscar Niemeyer in the 1950s, which has been the subject of many discussions about architecture and urbanism.</p>	false	1	https://media.tate.org.u…15/T15040_10.jpg	8786	sculpture cotton mop heads steel	[]	Kentucky (Biombo)	2,017	Tate	2017		CLEARED	8	object: 3100 × 6900 × 160 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> 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Kentucky (Biombo)</i> 2017 is a large undulating screen wall made with mop heads (a material the artist has used before) that mimics a mid-twentieth-century architectural feature. The work hangs from a suspended metal bar. It is the result of careful manipulation and rearrangement of sections of mop heads produced in England. Complex nodes form a subtle surface pattern or relief, which references macramé, a form of textile produced using knotting techniques rather than weaving or knitting. The work was realised in response to an invitation to exhibit at PIVÔ in São Paulo, an important modernist building built by Oscar Niemeyer in the 1950s, which has been the subject of many discussions about architecture and urbanism. </p>\n<p>\n<i>Kentucky (Screen)</i> highlights how da Cunha employs formal rigour and a modernist aesthetic to alter the meaning and function traditionally associated with the objects that he selects as his raw material. He has described his practice as ‘pointing’ as opposed to ‘making’, by which he means pointing at existing objects in our everyday surroundings to highlight or reveal new and unexpected facets or meanings within them, for example, an everyday cleaning mop. Da Cunha’s sculptures seek a strong relationship with the body and he attributes the significance of his own body in providing a scale reference which comes from his immediate encounter with everyday objects and materials. He has stated:</p>\n<p class=\"cttext\">\n</p><blockquote>Part of my practice with objects is to play with possible inversions of those points of view. Very often I don’t do much to the materials, but I make the viewer look at those banal things as if they were monumental or the other way around. In this process, the body plays an important role – both my body as a maker and the viewer as a player.<br/>(Alexandre da Cunha in conversation with Clarrie Wallis, Senior Curator, Contemporary British Art, October 2017.)</blockquote>\n<p>In <i>Kentucky (Screen)</i> da Cunha draws attention to the physical features and narrative potential of such mundane items as mops and offers a trigger for free associations. The work invites viewers to question their preconceptions and shift perspective to new ways of seeing and understanding the world around them, as the artist has explained:</p>\n<p class=\"cttext\">\n</p><blockquote>My working process is based on my observation of objects. I have been always intrigued by the massive amount of stuff one needs to live and the roles of objects in our surroundings. I am interested in the processes of design, manufacture, and distribution of them among ourselves. A great deal of my work consists of forcing myself to learn about the structures of ordinary objects and the narratives behind them, their cultural uses and their implications in society. The method of transformation or play with their appearance often happens through very subtle alterations; I believe this process has more to do with timing than physical intervention, though. It is about creating a platform and allowing the viewer to see something familiar from a privileged point of view.<br/>(Alexandre da Cunha in conversation with Clarrie Wallis, Senior Curator, Contemporary British Art, October 2017.)</blockquote>\n<p>The work references very distinct fields of manual labour: cleaning and sewing. Da Cunha has spoken about his use of mops and his interest in labour and craft:</p>\n<p class=\"cttext\">\n</p><blockquote>My routine in the studio is very laborious, repetitive, and demanding, and physically quite tiring ... in making sculptures with cleaning mops, for example, I am interested in the qualities of the mop as a textile, but I’m also referencing the labour of workers who use them as tools in their jobs. I don’t intend to make a social statement with it, but I am interested in this narrative that my work can make someone stop and think about that object, how it is constructed and how it is used in everyday life. The relationship with other fields, and specially crafts, is something I have been exploring for a while. Perhaps it is an attempt to bring my practice closer to other occupations that have a more practical function in society.<br/>(Alexandre da Cunha in conversation with Clarrie Wallis, Senior Curator, Contemporary British Art, October 2017.)</blockquote>\n<p>The sculpture typifies da Cunha’s interest in the found object. Following on from arte povera and his Latin American predecessors, da Cunha examines the position of his Brazilian homeland in relation to the West. Da Cunha often combines everyday items – straw hats, plastic soda bottles, umbrellas, beach towels and striped awning fabric – with a range of light industrial materials to produce works that exalt the ordinary. Taking everyday objects and transforming them with minimal rearrangements, da Cunha opens up reflection on their cultural and social connotations while engaging with the local and international histories of abstraction and minimalism.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Alexandre da Cunha</i>, exhibition catalogue, Paço das Artes, São Paulo 2006.<br/>Zoë Gray, <i>Alexandre da Cunha</i>, São Paulo 2016.<br/>Joachen Volz, ‘Conversations: Alexandre da Cunha “Boom”<i> </i>at Pivo, São Paulo’, <i>Mousse Magazine</i>, 1 July 2017.</p>\n<p>Clarrie Wallis<br/>October 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2024-02-02T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Graphite on paper	[ { "append_role_to_name": false, "date": "born 1962", "fc": "Sutapa Biswas", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/sutapa-biswas-4787" } ]	120,807	[ { "id": 999999876, "shortTitle": "Tate Britain" }, { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999872, "shortTitle": "Works on display" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,989	<a href="https://www.tate.org.uk/art/artists/sutapa-biswas-4787" aria-label="More by Sutapa Biswas" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Sutapa Biswas</a>	To Touch Stone	2,018		[]	Purchased 2018	T15041	{ "id": 5, "meta": { "type": "art.Classification" } }		42650 12081	7002445 7008136 1001977 7000198 1000004	Sutapa Biswas	1,989	[ { "archiveItemCount": 1, "id": 184, "level": 1, "name": "abstraction", "parent_id": 1, "workCount": 8614 }, { "archiveItemCount": 1792, "id": 92, "level": 2, "name": "actions: postures and motions", "parent_id": 91, "workCount": 7319 }, { "archiveItemCount": 0, "id": 95, "level": 2, "name": "adults", "parent_id": 91, "workCount": 20120 }, { "archiveItemCount": 3, "id": 3111, "level": 3, "name": "Asian", "parent_id": 179, "workCount": 114 }, { "archiveItemCount": 749, "id": 146, "level": 2, "name": "birth to death", "parent_id": 145, "workCount": 723 }, { "archiveItemCount": 829, "id": 149, "level": 2, "name": "education, science and learning", "parent_id": 145, "workCount": 587 }, { "archiveItemCount": 5302, "id": 29, "level": 1, "name": "emotions, concepts and ideas", "parent_id": 1, "workCount": 11114 }, { "archiveItemCount": 4241, "id": 179, "level": 2, "name": "ethnicity", "parent_id": 91, "workCount": 632 }, { "archiveItemCount": 290, "id": 519, "level": 3, "name": "female", "parent_id": 98, "workCount": 1391 }, { "archiveItemCount": 4877, "id": 10639, "level": 2, "name": "fine art and design, named works", "parent_id": 78, "workCount": 1276 }, { "archiveItemCount": 3599, "id": 6729, "level": 2, "name": "formal qualities", "parent_id": 29, "workCount": 8855 }, { "archiveItemCount": 8, "id": 17861, "level": 3, "name": "fragility", "parent_id": 30, "workCount": 15 }, { "archiveItemCount": 20, "id": 6919, "level": 3, "name": "fragmentation", "parent_id": 6729, "workCount": 213 }, { "archiveItemCount": 1506, "id": 863, "level": 3, "name": "gender", "parent_id": 158, "workCount": 183 }, { "archiveItemCount": 129, "id": 723, "level": 3, "name": "lying down", "parent_id": 92, "workCount": 263 }, { "archiveItemCount": 0, "id": 42831, "level": 3, "name": "Manet, Edouard, painting, ‘Olympia’", "parent_id": 10639, "workCount": 1 }, { "archiveItemCount": 143, "id": 21166, "level": 3, "name": "marginalisation", "parent_id": 158, "workCount": 49 }, { "archiveItemCount": 26, "id": 6726, "level": 3, "name": "mortality", "parent_id": 146, "workCount": 23 }, { "archiveItemCount": 1, "id": 185, "level": 2, "name": "non-representational", "parent_id": 184, "workCount": 6160 }, { "archiveItemCount": 485, "id": 98, "level": 2, "name": "nudes", "parent_id": 91, "workCount": 2084 }, { "archiveItemCount": 9924, "id": 78, "level": 1, "name": "objects", "parent_id": 1, "workCount": 13647 }, { "archiveItemCount": 0, "id": 91, "level": 1, "name": "people", "parent_id": 1, "workCount": 22072 }, { "archiveItemCount": 0, "id": 42830, "level": 3, "name": "philosophy, Deleuze, Gilles", "parent_id": 149, "workCount": 1 }, { "archiveItemCount": 217, "id": 1171, "level": 3, "name": "race", "parent_id": 158, "workCount": 164 }, { "archiveItemCount": 4671, "id": 158, "level": 2, "name": "social comment", "parent_id": 145, "workCount": 1913 }, { "archiveItemCount": 0, "id": 145, "level": 1, "name": "society", "parent_id": 1, "workCount": 15153 }, { "archiveItemCount": 3, "id": 445, "level": 3, "name": "text", "parent_id": 185, "workCount": 1040 }, { "archiveItemCount": 3955, "id": 30, "level": 2, "name": "universal concepts", "parent_id": 29, "workCount": 2432 }, { "archiveItemCount": 5, "id": 4357, "level": 3, "name": "void", "parent_id": 30, "workCount": 29 }, { "archiveItemCount": 1168, "id": 167, "level": 3, "name": "woman", "parent_id": 95, "workCount": 7942 } ]	<p><span>To Touch Stone</span> 1989–90 is a large-scale drawing by Sutapa Biswas of a reclining naked woman (the artist’s sister) occupying nine sheets of paper arranged in a three-by-three grid. The image of the figure is both formed and unformed, with elements of the body existing only in outline (arms, legs, hair and breasts) with the face and genital area being most fully realised. The figure lies flat, diagonally stretched across the work with the feet at the bottom left corner and the head in the top right. Two sheets are completely blank (top left and middle left), while the ground on which the figure rests is delineated not by line but by a flowing ribbon of words that occupy the lower middle right sheets and the middle right sheets. These words read:</p>	false	1	https://media.tate.org.u…15/T15041_10.jpg	4787	paper unique graphite	[ { "artistRoomsTour": false, "dateText": "16 October 2021 – 30 January 2022", "endDate": "2022-01-30", "exhibitionLegs": [ { "dateText": "16 October 2021 – 30 January 2022", "endDate": "2022-01-30", "id": 14021, "startDate": "2021-10-16", "venueName": "Kettle’s Yard (Cambridge, UK)", "venueWebsiteUrl": "http://www.kettlesyard.co.uk/" } ], "id": 11578, "startDate": "2021-10-16", "title": "Sutapa Biswas", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "8 May 2023", "endDate": null, "exhibitionLegs": [ { "dateText": null, "endDate": null, "id": 15290, "startDate": null, "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 12559, "startDate": "2023-05-08", "title": "Galleries 44, 46-47", "type": "Collection based display" } ]	To Touch Stone	1,989	Tate	1989–90		CLEARED	5	displayed: 1856 × 2486 × 44 mm frame, each: 612 × 822 × 44 mm	accessioned work	Tate	Purchased 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>To Touch Stone</i> 1989–90 is a large-scale drawing by Sutapa Biswas of a reclining naked woman (the artist’s sister) occupying nine sheets of paper arranged in a three-by-three grid. The image of the figure is both formed and unformed, with elements of the body existing only in outline (arms, legs, hair and breasts) with the face and genital area being most fully realised. The figure lies flat, diagonally stretched across the work with the feet at the bottom left corner and the head in the top right. Two sheets are completely blank (top left and middle left), while the ground on which the figure rests is delineated not by line but by a flowing ribbon of words that occupy the lower middle right sheets and the middle right sheets. These words read:</p>\n<p class=\"cttext\">\n</p><blockquote>from somewhere . from somewhere an indistinct sound came . murmer ~ n . to mutter; a rustling from the heart, lungs, etc., to touch stone . to touch stone . sometimes . stream ~ n , a running water; a river [, to touch stone .] or brook or rivulet ; a current ; to flow or issue in a stream, to run with liquid . on Saturday etc. etc to touch stone to touch stone . to touch stone . sometimes to touch stone with . liquid . weigh indistinct sounds . to murmer . to mutter . heart, lungs etc., a rustling sound from the heart . streams ~ n . to run with liquid, to touch stone . to touch stone . to touch stone . sound ~ v.t.i , to measure the depth of . from somewhere an indistinct sound , sounds ~ n . to touch stone stream ~ n , a running water ; a river , brook or rivulet , a current . to weigh in indistinct sounds like water . to touch stone to touch stone . to touch stone . to touch stone . sometimes . like water . to weigh indistinct sounds . a brook . or rivulet . murmer ~ n . to mutter . murmer.</blockquote>\n<p>An idea of emergence from fragmentation and absence is emphasised by the blank sheets of paper that make up the work as well as by the shift in technique to picturing the figure. Biswas’s engagement with issues of identity was largely played out at this time through a representation of metaphors for becoming (primarily read through the writing of the philosopher Gilles Deleuze). This idea of becoming is figured through her conjunction of image and text communicating a passage of time and a coalescing of being and identity. Furthermore, the image of a prone naked figure is situated within text that defines paradoxes of existence – sound that is weighed or stone being a hard substance that changes over geological time – subject to the transitory touch of running water, fingers or the rhythm of heart and breath.</p>\n<p>The art historian Griselda Pollock has identified <i>To Touch Stone</i> as an example of Biswas’s underlying strategy to ‘“demythologise” otherness’, or to resist and undermine the sense of separation and alienation common to the postcolonial world:</p>\n<p class=\"cttext\">\n</p><blockquote>The myth produced by imperialism/Orientalism is that there are other lands, rather than the spaces of interaction. To contest that myth is to refuse to be constructed as ‘belonging elsewhere’. For Asian artists born in India and growing up in Britain, for those intellectuals who actively see themselves living across the mythic spaces of a postcolonial world ... refusing in their persons to confirm that division, the critical project is the articulation of this demythologised, de-alienated space.<br/>(Griselda Pollock, ‘Tracing Figures of Presence: Naming Ciphers of Absence, Feminism, Imperialism and Postmodernity: The Work of Sutapa Biswas’, in Institute of International Visual Arts 2004, pp.30–2.)</blockquote>\n<p>The portrayal by Biswas of a reclining naked Asian woman continues her interest in the history of such subjects and stems in part from her engagement with Edouard Manet’s painting <i>Olympia</i> 1863 as a student at Leeds University between 1981 and 1984. The famous painting depicts a naked white sex worker reclining on a bed being offered flowers by a Black attendant. As an artist Biswas was interested in the marginalisation of the Black figure in art historical commentaries of the painting where, in Biswas’s words, ‘visibility is everything’, and therefore ‘unpicking histories of invisibility is necessary’ (email correspondence with Tate curator Andrew Wilson, 21 September 2017).</p>\n<p>It is as much the image of the reclining central figure of Olympia as the absences within readings of the painting that provide starting points for <i>To Touch Stone</i>. In Biswas’s work, the angle of the reclining figure shifts to become a prone figure; perspective and gaze alter as does the racial identity of the figure. For Biswas, <i>To Touch Stone</i>\n</p>\n<p class=\"cttext\">\n</p><blockquote>visually echoes a shared, yet differently violated space. Simultaneously, it represents (a) the desire to resist erosion/corrosion (sustain visibility / presence) and (b) the desire being taken out of the race/gender/class binaries (washed away to nothing by dust). The burden of representation or voice is a tough space in itself to occupy. In India in Varnasi, the ashes of a funeral pyre are put into the flow of the Ganges. <i>To Touch Stone</i> occupies a place of trauma, between life and death. I wish life but am met by death. Perhaps it is only in the putting together of fragments of paper that we can but recover a sense of ‘being’ and a resistance to our erasure across time and space.<br/>(Email correspondence with Tate curator Andrew Wilson, 1 May 2019.)</blockquote>\n<p>\n<i>To Touch Stone</i> was first shown in the group exhibition <i>The Circular Dance</i> at the Arnolfini in Bristol in 1991, which also included work by Chila Kumari Burman, Jagjit Chuhan, Nina Edge, Gurminder Sikand and Shanti Thomas. There it was exhibited alongside a group of pastel and pencil drawings by Biswas entitled <i>Sacred Spaces</i> 1990 (see Arnolfini 1991, p.23). These consisted of drawings of Biswas’s sister’s head and shoulders, where the facial features may have been drawn-in in pastel leaving the area of hair, neck and shoulders in outline. These works, alongside <i>To Touch Stone</i>, suggest the fluidity or formation of identity, both through the use of her similar-looking sister as model, but also through the contrast between blankness and fully described form.</p>\n<p>\n<i>To Touch Stone</i> makes reference to a range of earlier art forms, including erotic Indian temple sculpture such as that found at Ajanta and Ellora, and American artist Robert Rauchenberg’s series of <i>White Paintings</i> from 1951, which Biswas had discovered as an art student in the early 1980s. For Biswas, the blankness of the <i>White Paintings</i> provided a space of incident in which presence could be traced. The blank sheets in <i>To Touch Stone</i> offer a counterpoint to the fully described passages, but more directly Biswas evolved ‘the idea of a white space as a metaphor for “institutional spaces”. By incorporating physical large white spaces within my works, wherein meaning could evolve to disrupt that which was already defined within it ... I was re-inscribing that “white space”’ (email correspondence with Tate curator Andrew Wilson, 21 September 2017).</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>The Circular Dance</i>, exhibition catalogue, Arnolfini, Bristol 1991.<br/>\n<i>Transforming the Crown: African, Asian & Caribbean Artists in Britain, 1966−1996</i>, exhibition catalogue, Caribbean Cultural Center / African Diaspora Institute, New York 1997.<br/>\n<i>Sutapa Biswas</i>, exhibition catalogue, Institute of International Visual Arts, London 2004, reproduced p.31.</p>\n<p>Andrew Wilson<br/>November 2017, revised May 2019</p>\n</div>\n", "display_name": "Summary", "publication_date": "2021-08-25T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[ "abstraction", "actions: postures and motions", "adults", "Asian", "birth to death", "education, science and learning", "emotions, concepts and ideas", "ethnicity", "female", "fine art and design, named works", "formal qualities", "fragility", "fragmentation", "gender", "lying down", "Manet, Edouard, painting, ‘Olympia’", "marginalisation", "mortality", "non-representational", "nudes", "objects", "people", "philosophy, Deleuze, Gilles", "race", "social comment", "society", "text", "universal concepts", "void", "woman" ]	null	false	92 3111 146 149 179 519 10639 17861 6919 863 723 21166 6726 185 98 1171 158 445 30 4357 167	true		artwork
Wood, paint and table-top football game	[ { "append_role_to_name": false, "date": "born 1959", "fc": "Mark Wallinger", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/mark-wallinger-2378" } ]	120,827	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,988	<a href="https://www.tate.org.uk/art/artists/mark-wallinger-2378" aria-label="More by Mark Wallinger" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Mark Wallinger</a>	They Think Its All Over It Is Now	2,018		[]	Accepted under the Cultural Gifts Scheme by HM Government from Jack Kirkland and allocated to Tate 2018	T15044	{ "id": 8, "meta": { "type": "art.Classification" } }			1028830 7008131 7002445 7008591	Mark Wallinger	1,988	[ { "archiveItemCount": 2124, "id": 80, "level": 2, "name": "fine arts and music", "parent_id": 78, "workCount": 1858 }, { "archiveItemCount": 18, "id": 15292, "level": 3, "name": "football", "parent_id": 54, "workCount": 31 }, { "archiveItemCount": 3648, "id": 33, "level": 1, "name": "history", "parent_id": 1, "workCount": 2128 }, { "archiveItemCount": 0, "id": 47, "level": 1, "name": "leisure and pastimes", "parent_id": 1, "workCount": 3435 }, { "archiveItemCount": 9924, "id": 78, "level": 1, "name": "objects", "parent_id": 1, "workCount": 13647 }, { "archiveItemCount": 90, "id": 856, "level": 3, "name": "plinth", "parent_id": 80, "workCount": 66 }, { "archiveItemCount": 1241, "id": 38, "level": 2, "name": "politics and society", "parent_id": 33, "workCount": 1096 }, { "archiveItemCount": 131, "id": 54, "level": 2, "name": "sport", "parent_id": 47, "workCount": 380 }, { "archiveItemCount": 0, "id": 42429, "level": 3, "name": "sport: FIFA World Cup Final, 1966", "parent_id": 38, "workCount": 1 }, { "archiveItemCount": 0, "id": 42428, "level": 3, "name": "Subbuteo", "parent_id": 89, "workCount": 1 }, { "archiveItemCount": 94, "id": 89, "level": 2, "name": "toys and models", "parent_id": 78, "workCount": 290 } ]	<p><span>They Think It's All Over ... It Is Now</span> 1988 is a sculpture incorporating a game of the table football game Subbuteo. The table has been arranged to reconstruct the moment the English World Cup squad of 1966 scored the winning goal in extra time to defeat West Germany 4–2 (following a disputed goal that put Britain ahead 3–2), thereby winning the World Cup. The game is positioned on top of a neo-classical wooden plinth painted with a green marbled effect.</p>	false	1	https://media.tate.org.u…15/T15044_10.jpg	2378	sculpture wood paint table-top football game	[ { "artistRoomsTour": false, "dateText": "5 November 2022 – 12 March 2023", "endDate": "2023-03-12", "exhibitionLegs": [ { "dateText": "5 November 2022 – 12 March 2023", "endDate": "2023-03-12", "id": 14910, "startDate": "2022-11-05", "venueName": "Walker Art Gallery (Liverpool, UK)", "venueWebsiteUrl": "http://www.liverpoolmuseums.org.uk" } ], "id": 12258, "startDate": "2022-11-05", "title": "The Art Of Terrace Culture", "type": "Loan-out" } ]	They Think It’s All Over... It Is Now	1,988	Tate	1988		CLEARED	8	1320 × 1486 × 1098 mm	accessioned work	Tate	Accepted under the Cultural Gifts Scheme by HM Government from Jack Kirkland and allocated to Tate 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>They Think It's All Over ... It Is Now</i> 1988 is a sculpture incorporating a game of the table football game Subbuteo. The table has been arranged to reconstruct the moment the English World Cup squad of 1966 scored the winning goal in extra time to defeat West Germany 4–2 (following a disputed goal that put Britain ahead 3–2), thereby winning the World Cup. The game is positioned on top of a neo-classical wooden plinth painted with a green marbled effect. </p>\n<p>The oversized plinth gives the diminutive representation of the game a grand presence, similar to that communicated by historical statues of national heroes placed on similar plinths. However, given the fact that England had not reached a World Cup final since – might identify the plinth as a tomb rather than a pedestal.</p>\n<p>\n<i>They Think It’s All Over ... It Is Now</i> is representative of Wallinger’s work in taking a social ritual or spectator activity – in this case football – to address issues of identity and class using appropriation and humour. Many of his works, such as <i>Royal Ascot </i>1994 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/wallinger-royal-ascot-t12810\" title=\"View the details of this artwork\"><span>T12810</span></a>) and <i>Half-Brother (Exit to Nowhere – Machiavellian) </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/wallinger-half-brother-exit-to-nowhere-machiavellian-t07038\" title=\"View the details of this artwork\"><span>T07038</span></a>), draw on the culture and sport of horse racing to explore these issues, along with questions about belief, faith, and the responsibility of the individual and of society.<i> </i>\n</p>\n<p>The success of the 1966 English World Cup squad epitomised strengths within the British character which, for Wallinger, ‘reflected a kinder age: the last time that patriotism was viewed through innocent eyes’ (Mark Wallinger, ‘Hamburg: 1989’, in <i>The Russian Linesman</i>, exhibition catalogue, Hayward Gallery, London, 2009, p.119). Despite this innocence, the work balances nostalgia with the aim to ‘challenge the cosy mythology of British tradition’ (Mark Wallinger, ‘Answer Back’, <i>Evening Standard Magazine</i>, 6 November 1987, p.62) and provide not so much a celebration of an historic victory, twenty-one years after the ending of the Second World War, but instead a memorial and requiem for Wallinger’s own memory of that moment and the national decline that had occurred since his childhood. He later explained that <i>They Think It’s All Over ... It Is Now</i> also provides a wider model of cultural difference and divisions, describing how ‘I showed that work in Hamburg, in 1989, at the time when the Berlin wall came down … and there were Germans there who would say, “Is this the 3-2 [disputed] goal?” It was obviously a live issue.’ (Quoted in Herbert 2011, pp.42–3.)</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Mark Wallinger</i>, exhibition catalogue, Ikon Gallery Birmingham / Serpentine Gallery London 1995, illustrated.<br/>Martin Herbert, <i>Mark Wallinger</i>, London 2011.<br/>Sally O’Reilly, <i>Mark Wallinger</i>, London 2015.</p>\n<p>Andrew Wilson<br/>July 2016</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-11-23T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[ "fine arts and music", "football", "history", "leisure and pastimes", "objects", "plinth", "politics and society", "sport", "sport: FIFA World Cup Final, 1966", "Subbuteo", "toys and models" ]	null	false	80 15292 856 38 54 89	false		artwork
Pantomime horse and 2 mannequins	[ { "append_role_to_name": false, "date": "born 1959", "fc": "Mark Wallinger", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/mark-wallinger-2378" } ]	120,828	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,993	<a href="https://www.tate.org.uk/art/artists/mark-wallinger-2378" aria-label="More by Mark Wallinger" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Mark Wallinger</a>	Behind You	2,018		[]	Accepted under the Cultural Gifts Scheme by HM Government from Jack Kirkland and allocated to Tate 2018	T15045	{ "id": 8, "meta": { "type": "art.Classification" } }			1028830 7008131 7002445 7008591	Mark Wallinger	1,993	[]	<p><span>Behind You!</span> 1993 is a grey theatrical costume horse, such as might be used in pantomime, that is worn on two mannequins positioned to suggest that the two figures making up the front and rear portions of the horse are engaged in an act of sodomy; the rear end of the horse is raised up, its tail stiff, while the head is dipping down. When first exhibited in a solo exhibition at the Anthony Reynolds Gallery, London in 1994, <span>Behind You!</span> was paired with a wall-sized photographic work in which a large crowd of football supporters surge around Wallinger and an associate who hold aloft a Union Jack Flag onto which has been appliqued the artist’s name – ‘Mark Wallinger’. Here, as with much of his work, Wallinger addresses the ways in which identities can be understood as being shaped through social construction. Rather than identify himself with the ritualistic gestures and the tribal nationalism of football supporters who treat patriotism to country and club as indistinguishable, the stance of Wallinger in holding the flag suggests a more nuanced address to the politics of personal and national identity that the photograph’s extended title points to: <span>Mark Wallinger, 31 Hayes Court, Camberwell New Road, London, England, Great Britain, Europe, The World, The Solar System, The Galaxy, The Universe</span> 1994. Wallinger proposes that identity is not just socially constructed by who you are or where you were born or live, but is also subject to greater factors.</p>	false	1	https://media.tate.org.u…15/T15045_10.jpg	2378	sculpture pantomime horse 2 mannequins	[]	Behind You!	1,993	Tate	1993		CLEARED	8	unconfirmed: 2134 × 1727 × 1016 mm	accessioned work	Tate	Accepted under the Cultural Gifts Scheme by HM Government from Jack Kirkland and allocated to Tate 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Behind You!</i> 1993 is a grey theatrical costume horse, such as might be used in pantomime, that is worn on two mannequins positioned to suggest that the two figures making up the front and rear portions of the horse are engaged in an act of sodomy; the rear end of the horse is raised up, its tail stiff, while the head is dipping down. When first exhibited in a solo exhibition at the Anthony Reynolds Gallery, London in 1994, <i>Behind You!</i> was paired with a wall-sized photographic work in which a large crowd of football supporters surge around Wallinger and an associate who hold aloft a Union Jack Flag onto which has been appliqued the artist’s name – ‘Mark Wallinger’. Here, as with much of his work, Wallinger addresses the ways in which identities can be understood as being shaped through social construction. Rather than identify himself with the ritualistic gestures and the tribal nationalism of football supporters who treat patriotism to country and club as indistinguishable, the stance of Wallinger in holding the flag suggests a more nuanced address to the politics of personal and national identity that the photograph’s extended title points to: <i>Mark Wallinger, 31 Hayes Court, Camberwell New Road, London, England, Great Britain, Europe, The World, The Solar System, The Galaxy, The Universe</i> 1994. Wallinger proposes that identity is not just socially constructed by who you are or where you were born or live, but is also subject to greater factors.</p>\n<p>This grounding in the fluctuation between personal and wider national and cultural identities is further complicated by <i>Behind You!</i>. Based within the particular language of pantomime as a cloak for satirical or critical attitudes, this work wrestles with the ambiguity of masquerade so that, as the historian Jon Thompson has explained, ‘the alterity of reading that it proposes between the homosexual as a subject of popular prejudice, ribald comment and gratuitous verbal abuse and the Pantomime Horse as object of good-natured, even affectionate banter, is another example of Wallinger’s determination to confront the viewer with difficult interpretive tasks’ (Jon Thompson, ‘Doing Battle with Decomposition: The Work of Mark Wallinger 1985–1995’, in Ikon Gallery/Serpentine Gallery 1995, p.15). However, Thompson’s reading is just one aspect of a work that connects with the beginnings of Wallinger’s preoccupation with horse-racing as a subject through which he could address issue of identity and class (especially when he bought, trained and raced a racehorse named <i>A Real Work of Art</i> 1994). For example, a painting such as <i>Half-Brother (Exit to Nowhere – Machiavellian)</i> 1994–5 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/wallinger-half-brother-exit-to-nowhere-machiavellian-t07038\" title=\"View the details of this artwork\"><span>T07038</span></a>), in which the front of one horse is paired with the back view of another horse (both of whom share the same broodmare), suggests that the purity of bloodline – inbred and manufactured – can also be as absurdist as the appearance of a pantomime horse. The third element of Wallinger’s exhibition at Anthony Reynolds in 1994 was a large black and white photograph, titled <i>The Full English</i>, depicting <i>Behind You!</i> positioned so that the act of sodomy takes place within a dispiriting urban landscape, underpinning, according to Martin Herbert, ‘the whole of Wallinger’s horse-racing-related work as an expansive, Hogarthian, panoramic burlesque of society as a whole’ (Herbert 2011, p.69).</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Mark Wallinger</i>, exhibition catalogue, Ikon Gallery Birmingham / Serpentine Gallery London 1995, illustrated.<br/>Martin Herbert, <i>Mark Wallinger</i>, London 2011, illustrated.<br/>Sally O’Reilly, <i>Mark Wallinger</i>, London 2015, illustrated.</p>\n<p>Andrew Wilson<br/>July 2016</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-07-31T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Oil paint on canvas	[ { "append_role_to_name": false, "date": "active c.1685–1725", "fc": "John James Baker", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/john-james-baker-27174" } ]	120,832	[ { "id": 999999876, "shortTitle": "Tate Britain" }, { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999872, "shortTitle": "Works on display" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,710	<a href="https://www.tate.org.uk/art/artists/john-james-baker-27174" aria-label="More by John James Baker" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">John James Baker</a>	Whig Junto	2,018		[]	From the collection of Richard and Patricia, Baron and Baroness Sandys. Accepted by HM Government in Lieu of inheritance tax and allocated to Tate 2018	T15046	{ "id": 6, "meta": { "type": "art.Classification" } }			7008591	John James Baker	1,710	[ { "archiveItemCount": 1792, "id": 92, "level": 2, "name": "actions: postures and motions", "parent_id": 91, "workCount": 7319 }, { "archiveItemCount": 0, "id": 95, "level": 2, "name": "adults", "parent_id": 91, "workCount": 20120 }, { "archiveItemCount": 858, "id": 67, "level": 3, "name": "animals: mammals", "parent_id": 60, "workCount": 4013 }, { "archiveItemCount": 1236, "id": 4702, "level": 3, "name": "aristocrat", "parent_id": 869, "workCount": 121 }, { "archiveItemCount": 1772, "id": 51, "level": 2, "name": "art and craft", "parent_id": 47, "workCount": 611 }, { "archiveItemCount": 79, "id": 7203, "level": 3, "name": "art appreciation", "parent_id": 51, "workCount": 46 }, { "archiveItemCount": 5738, "id": 118, "level": 2, "name": "arts and entertainment", "parent_id": 116, "workCount": 1472 }, { "archiveItemCount": 1605, "id": 927, "level": 3, "name": "book - 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Everything about it is designed to demonstrate their power. The first Earl of Orford, who commissioned the picture, stands on the right. A Black servant appears behind the gathered guests. We do not know the identity of the servant, or even if a Black servant worked in Orford’s household. Britain was profiting from the increasing trade of enslaved people from West Africa. Most of the Black servants who worked in British households were enslaved. They were seen by the white British elite as symbols of their wealth and often depicted in paintings to reflect this. The imagined grand setting adds to the intended impression of affluence and power. The portrait advertises the Whigs’ pro-war foreign policy. Prints of Roman victories emphasise Britain’s current military successes in Europe. The globe may refer to British interest in accessing new trading routes.</p><p><em>Gallery label, August 2020</em></p>	false	1	https://media.tate.org.u…15/T15046_10.jpg	27174	painting oil paint canvas	[ { "artistRoomsTour": false, "dateText": "17 December 2012 – 24 July 2022", "endDate": "2022-07-24", "exhibitionLegs": [ { "dateText": "17 December 2012", "endDate": null, "id": 7252, "startDate": "2012-12-17", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 5934, "startDate": "2012-12-17", "title": "Gallery 92", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "4 February 2020 – 19 April 2020", "endDate": "2020-04-19", "exhibitionLegs": [ { "dateText": "4 February 2020 – 19 April 2020", "endDate": "2020-04-19", "id": 13086, "startDate": "2020-02-04", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 10774, "startDate": "2020-02-04", "title": "British Baroque: Power and Illusion", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "26 September 2022", "endDate": null, "exhibitionLegs": [ { "dateText": "4 October 2021", "endDate": null, "id": 13268, "startDate": "2021-10-04", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 10938, "startDate": "2022-09-26", "title": "Gallery 92", "type": "Collection based display" } ]	The Whig Junto	1,710	Tate	1710		CLEARED	6	support: 3190 × 3649 × 37 mm	accessioned work	Tate	From the collection of Richard and Patricia, Baron and Baroness Sandys. Accepted by HM Government in Lieu of inheritance tax and allocated to Tate 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is a portrait of a political group named the Whig Junto and a Black servant, whose identity is unknown. It is the only known portrait of the Junto, which was an ideologically close-knit group of political peers who formed the leadership of the Whig party in the late seventeenth and early eighteenth centuries. The members of the group are shown gathered together on a grand terrace, while a vista onto a garden is revealed by the Black servant, who holds back a heavy velvet curtain. The grand architectural setting is imagined, and is deliberately evocative of power and status. The picture was commissioned by Edward Russell, 1st Earl of Orford, who stands on the right, as if welcoming the company. It is not known if Orford had a Black servant in his household or whether the individual was included to emphasise Orford’s wealth and social standing. At the time, Britain was profiting heavily from the trade of enslaved people from West Africa. The presence of Black servants, many of whom were enslaved, in both aristocratic and merchant households had come to symbolise property and wealth. This reflected the dehumanising view of enslaved Black people held by the British elite. </p>\n<p>The scene conjures one of the Junto’s country house meetings where, in between parliamentary sessions, policy and party strategy were formulated. From left to right the sitters round the table can be identified as Charles Spencer, 3rd Earl of Sunderland; Thomas Wharton, 1st Marquess of Wharton; John Somers, 1st Baron Somers; Charles Montagu, 1st Earl of Halifax; and William Cavendish, 2nd Duke of Devonshire. The lavish surroundings probably represent Orford’s house, Chippenham, where Junto meetings sometimes took place. It was also ideally located for the nearby Newmarket horse races, which the members of the Junto frequently attended when parliament was not sitting. </p>\n<p>The portrait is dated 1710, before the crushing electoral defeat of the Whigs in October of that year. It shows the political allies while in power, when Sunderland was Secretary of State, Wharton Lord Lieutenant of Ireland, Somers Lord President of the Privy Council, Devonshire Lord Steward and a member of the Privy Council, and Orford First Lord of the Admiralty. On the surface the portrait shows a relaxed gathering of fellow connoisseurs , seated round a table consulting antique medals and books of prints. Fittingly, Somers and Halifax sit at the centre of the company, holding a book and handling a medal respectively. Both were known collectors and antiquarians – Somers was one of the founders of the Whig Kit-Cat Club, a convivial drinking and dining club, but which also had a political propagandist agenda; he had also purchased the Resta collection of drawings from Italy in 1709. Halifax had a celebrated library and a collection of antique medals (sold in 1740), to which those being consulted presumably allude. Behind this exterior of cultural appreciation, however, the portrait advertises Whig policy in 1709–10, which supported the continuation of war against France in opposition to Tory calls for peace. The two visible prints are friezes from Trajan’s column showing episodes from the Dacian wars, with the Roman army crossing the Danube. The viewer is invited to make parallels between the valour and victories of the Roman emperors and the current military greatness achieved for Britain by the Duke of Marlborough’s campaigns. The globe, showing the Pacific, presumably alludes to Whig foreign policy ambitions beyond Europe. By defeating France in Europe, they aimed to gain commercial access to Spanish American trade routes. It reflects the competitive European colonial pursuit of new markets, including the selling of enslaved West African people to Spanish territories overseas.</p>\n<p>John James Baker (or Backer, or Bakker) is thought to have been Flemish, from Antwerp. He was Godfrey Kneller’s (1646–1723) long-time studio assistant and drapery painter, and this is his largest, most ambitious and complex work. The symbolic programme was presumably devised by Orford in discussion with Baker. The Duke of Devonshire was not a regular member of the Junto, although an increasingly important Whig peer, but his inclusion here is presumably because of his kinship relationship with Orford. The picture is thus a demonstration of Orford’s private as well as professional networks, and also his pride and ambition. It would have been displayed at Chippenham in the newly appointed, fashionable interiors, alongside other works that Orford commissioned to advertise his public achievement and the private and professional networks that sustained his power and influence. </p>\n<p>\n<b>Further reading</b>\n<br/>Vertue Notebooks III, <i>Walpole Society</i>, vol.XXII, 1933–4, p.33 (for information on Baker).<br/>Tabitha Barber and Tim Bachelor, <i>British Baroque: Power and Illusion</i>, exhibition catalogue, Tate Britain, London 2020, pp.157–8.</p>\n<p>Tabitha Barber<br/>October 2017, revised August 2020</p>\n</div>\n", "display_name": "Summary", "publication_date": "2020-08-24T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This portrait shows the leaders of the political Whig party. Edward Russell, the first Earl of Orford (standing on the right) commissioned the picture. A Black figure stands on the left of the gathered guests. We don’t know their identity, or even if they were a real person. The artist likely included them in the portrait to show the wealth, status and power of the white sitters. Prints of Roman victories emphasise Britain’s military successes and a desire for empire building. The globe may refer to British interest in accessing new trading routes.</p>\n</div>\n", "display_name": "Online caption", "publication_date": "2023-11-29T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]	[ "actions: postures and motions", "adults", "animals: mammals", "aristocrat", "art and craft", "art appreciation", "arts and entertainment", "book - non-specific", "Cavendish, William, 2nd Duke of Devonshire", "cities, towns, villages (non-UK)", "cloak", "clothing and personal items", "coat of arms", "collector / patron", "dog, greyhound", "domestic", "fine arts and music", "furnishings", "globe", "group", "groups", "groups", "hall", "history", "interiors", "leisure and pastimes", "man", "map", "medal", "Montagu, Charles, 1st Earl of Halifax", "named individuals", "objects", "people", "places", "politician, First Lord of the Admiralty", "politician, Lord Lieutenant of Ireland", "politician, Lord President of the Privy Council", "politician, Lord Steward", "politician - non-specific", "politician, Secretary of State", "politics and society", "politics: Whig Junto, 1709-10", "portraits", "print", "public service", "reading, writing, printed matter", "religious and ceremonial", "Rome, Trajan’s Column", "royalty and social rank", "Russell, Edward, 1st Earl of Orford", "scientific and measuring", "sitting", "Somers, John , 1st Baron Somers", "Spencer, Charles, 3rd Earl of Sunderland", "table", "Wharton, Thomas, 1st Marquess of Wharton", "wig", "work and occupations" ]	null	false	92 67 4702 51 7203 118 927 699 88 7757 10061 3366 41 80 82 4167 799 97 20115 3851 195 2898 7715 808 20998 17677 38 20114 6306 130 174 169 11334 869 172 694 826 5040	true		artwork
Video, monitor, colour and sound (stereo)	[ { "append_role_to_name": false, "date": "born 1954", "fc": "Erwin Wurm", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/erwin-wurm-9360" } ]	120,839	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,997	<a href="https://www.tate.org.uk/art/artists/erwin-wurm-9360" aria-label="More by Erwin Wurm" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Erwin Wurm</a>	One Minute Sculptures	2,018		[]	Presented by the artist 2016	T15047	{ "id": 10, "meta": { "type": "art.Classification" } }			1025469 7003028 1000062	Erwin Wurm	1,997	[]	<p>This video with sound is shown on a monitor and lasts nearly forty-eight minutes. It is one of a large number of works, mainly photographs, in Tate’s collection that form part of Erwin Wurm’s series <span>One Minute Sculptures</span> (see Tate P14777–P14816 and Tate P82011–P82016). Wurm began his <span>One Minute Sculptures </span>in 1988, and has since been continuously contributing to the encyclopaedic series in myriad locations around the world. The individual photographs feature images of people – anonymous participants, performers, curators, artists and even the artist himself – engaging in unconventional and sometimes physically challenging interactions with everyday objects such as clothing, buckets, balls, doorframes, bicycles and perishable goods. The resulting compositions feature unusual contortions – held for a minute – and illogical still-lives that are both humorous and provocative. While the photograph is the enduring record of each composition, the work comprises the entirety of the performative process, which begins with Wurm delivering instructions, both written and pictorial, to the subject of the ‘sculpture’. The participant subsequently enacts the determined formation or action and maintains it for a period of sixty seconds, during which time the pose is photographed. In a complex work that explores interaction, activation and the temporal, Wurm employs the photographic medium as a means of cataloguing his ephemeral studies.</p>	false	1	https://media.tate.org.u…T15/T15047_9.jpg	9360	time-based media video monitor colour sound stereo	[ { "artistRoomsTour": false, "dateText": "17 April 2018 – 9 September 2018", "endDate": "2018-09-09", "exhibitionLegs": [ { "dateText": "17 April 2018 – 9 September 2018", "endDate": "2018-09-09", "id": 12320, "startDate": "2018-04-17", "venueName": "HyundaiCard Storage (Seoul, Korea)", "venueWebsiteUrl": null } ], "id": 10146, "startDate": "2018-04-17", "title": "Erwin Wurm", "type": "Loan-out" } ]	One Minute Sculptures	1,997	Tate	1997		CLEARED	10	duration: 46min, 47sec	accessioned work	Tate	Presented by the artist 2016	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This video with sound is shown on a monitor and lasts nearly forty-eight minutes. It is one of a large number of works, mainly photographs, in Tate’s collection that form part of Erwin Wurm’s series <i>One Minute Sculptures</i> (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/wurm-one-minute-sculptures-p14777\" title=\"View the details of this artwork\"><span>P14777</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/wurm-one-minute-sculptures-p14816\" title=\"View the details of this artwork\"><span>P14816</span></a> and Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/wurm-one-minute-sculpture-p82011\" title=\"View the details of this artwork\"><span>P82011</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/wurm-one-minute-sculptures-p82016\" title=\"View the details of this artwork\"><span>P82016</span></a>). Wurm began his <i>One Minute Sculptures </i>in 1988, and has since been continuously contributing to the encyclopaedic series in myriad locations around the world. The individual photographs feature images of people – anonymous participants, performers, curators, artists and even the artist himself – engaging in unconventional and sometimes physically challenging interactions with everyday objects such as clothing, buckets, balls, doorframes, bicycles and perishable goods. The resulting compositions feature unusual contortions – held for a minute – and illogical still-lives that are both humorous and provocative. While the photograph is the enduring record of each composition, the work comprises the entirety of the performative process, which begins with Wurm delivering instructions, both written and pictorial, to the subject of the ‘sculpture’. The participant subsequently enacts the determined formation or action and maintains it for a period of sixty seconds, during which time the pose is photographed. In a complex work that explores interaction, activation and the temporal, Wurm employs the photographic medium as a means of cataloguing his ephemeral studies. </p>\n<p>While the unexpected combinations intentionally register as absurd upon first glance, the <i>One Minute Sculptures</i> offer a contemplative exploration of the parameters of the act of image-making. The multi-layered series spans the range of media central to Wurm’s practice (performance, sculpture and photography) and seeks to blur the distinction of one from the other (see also <i>Double Bucket </i>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/wurm-double-bucket-t15258\" title=\"View the details of this artwork\"><span>T15258</span></a>] and <i>Organisation of Love </i>2007 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/wurm-organisation-of-love-t15257\" title=\"View the details of this artwork\"><span>T15257</span></a>]). They are exercises in which the artist investigates what he has described as the basic qualities of sculpture, such as volume, space and the possibility of interaction with the viewer. Wurm challenges not only the physical relationship between human and object with unconventional pairings, but also the individual and societal perception of self and one’s surroundings. Historian Stephen Berg has described the treatment of the body and self in Wurm’s work, stating that ‘The more that is poked into its orifices, and the more food and clothing that is accumulated around it, the clearer it becomes that the body and the self are no longer masters in their own house, and as a result achieve self-expression more through self-deformation.’ (Stephen Berg, ‘The Ridiculous Human Tragedy’, translated by Michael Turnbull, in Berg 2009, p.48.)</p>\n<p>This notion of deformation, or distortion, lends a deconstructive element to the works on several levels: firstly, the traditional canon of the medium of sculpture is re-examined and undermined through Wurm’s performance-based process. Secondly, the artist underscores the prevalence of objects in everyday life and subsequently turns their established usage upside down, entreating the viewer, as well as the participant, to consider their functionality in contemporary reality. Finally, he subverts perception through these destabilising <i>One Minute Sculptures</i>, as both viewer and participant are required to momentarily suspend practical rationality in favour of the grotesque and the improbable. </p>\n<p>\n<b>Further reading</b>\n<br/>Kate Bush and Michael Newman, <i>Erwin Wurm</i>, exhibition catalogue, Photographers’ Gallery, London, 7 December 2000–21 January 2001.<br/>Peter Wiebel, <i>Erwin Wurm</i>, Osfiltdern 2002.<br/>Stephan Berg, <i>Erwin Wurm</i>, Cologne 2009.</p>\n<p>Zmira Zilkha<br/>June 2016</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-11-23T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Cellulose paint on wood	[ { "append_role_to_name": false, "date": "1936–2020", "fc": "Mohammed Melehi", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/mohammed-melehi-26620" } ]	120,841	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,970	<a href="https://www.tate.org.uk/art/artists/mohammed-melehi-26620" aria-label="More by Mohammed Melehi" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Mohammed Melehi</a>	Casa	2,018		[]	Purchased with funds provided by the Middle East North Africa Acquisitions Committee 2018	T15048	{ "id": 6, "meta": { "type": "art.Classification" } }			1091344 1001563 1000179 7001242	Mohammed Melehi	1,970	[ { "archiveItemCount": 1, "id": 184, "level": 1, "name": "abstraction", "parent_id": 1, "workCount": 8614 }, { "archiveItemCount": 6, "id": 2891, "level": 3, "name": "air", "parent_id": 70, "workCount": 13 }, { "archiveItemCount": 346, "id": 69, "level": 3, "name": "astronomy", "parent_id": 60, "workCount": 886 }, { "archiveItemCount": 0, "id": 42446, "level": 3, "name": "Casablanca", "parent_id": 107, "workCount": 1 }, { "archiveItemCount": 2876, "id": 107, "level": 2, "name": "cities, towns, villages (non-UK)", "parent_id": 106, "workCount": 10447 }, { "archiveItemCount": 1, "id": 39635, "level": 3, "name": "colour", "parent_id": 6729, "workCount": 835 }, { "archiveItemCount": 4059, "id": 108, "level": 2, "name": "countries and continents", "parent_id": 106, "workCount": 13331 }, { "archiveItemCount": 13, "id": 2434, "level": 3, "name": "earth", "parent_id": 70, "workCount": 22 }, { "archiveItemCount": 5302, "id": 29, "level": 1, "name": "emotions, concepts and ideas", "parent_id": 1, "workCount": 11114 }, { "archiveItemCount": 134, "id": 1596, "level": 3, "name": "environment / nature", "parent_id": 30, "workCount": 181 }, { "archiveItemCount": 23, "id": 1326, "level": 3, "name": "fire", "parent_id": 70, "workCount": 197 }, { "archiveItemCount": 3599, "id": 6729, "level": 2, "name": "formal qualities", "parent_id": 29, "workCount": 8855 }, { "archiveItemCount": 1, "id": 189, "level": 2, "name": "from recognisable sources", "parent_id": 184, "workCount": 3633 }, { "archiveItemCount": 200, "id": 223, "level": 3, "name": "landscape", "parent_id": 189, "workCount": 991 }, { "archiveItemCount": 32, "id": 6667, "level": 3, "name": "Morocco", "parent_id": 108, "workCount": 9 }, { "archiveItemCount": 1023, "id": 70, "level": 3, "name": "natural phenomena", "parent_id": 60, "workCount": 2111 }, { "archiveItemCount": 0, "id": 106, "level": 1, "name": "places", "parent_id": 1, "workCount": 26467 }, { "archiveItemCount": 203, "id": 975, "level": 3, "name": "sun", "parent_id": 69, "workCount": 261 }, { "archiveItemCount": 1, "id": 6644, "level": 3, "name": "sunbeam", "parent_id": 77, "workCount": 198 }, { "archiveItemCount": 3955, "id": 30, "level": 2, "name": "universal concepts", "parent_id": 29, "workCount": 2432 }, { "archiveItemCount": 177, "id": 2892, "level": 3, "name": "water", "parent_id": 70, "workCount": 58 }, { "archiveItemCount": 492, "id": 77, "level": 3, "name": "weather", "parent_id": 60, "workCount": 3071 } ]	<p>The title of the painting <span>Casa</span> is a common shortening for the city of Casablanca in the artist’s native Morocco. It can be read as an abstracted cityscape, informed by Melehi’s nomadic lifestyle which saw him travelling from Marrakech to Rome, Paris and New York. In the 1960s, during his stay in New York, he had already worked on a series of paintings with titles like <span>New York</span>, <span>Above Manhattan</span> and <span>Sleeping Manhattan</span> that set up a dialogue with the work of American painters such as Frank Stella, Ellsworth Kelly, Kenneth Nolan and Jules Olitski (whom Melehi met in the early 1960s when the American artist exhibited in Rome at Topazia Alliata Gallery, run by the mother of Melehi’s then wife, Toni Maraini).</p>	false	1	https://media.tate.org.u…15/T15048_10.jpg	26620	painting cellulose paint wood	[ { "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": "19 October 2021 – 12 June 2022", "endDate": "2022-06-12", "exhibitionLegs": [ { "dateText": "19 October 2021 – 12 June 2022", "endDate": "2022-06-12", "id": 14573, "startDate": "2021-10-19", "venueName": "Stadtische Galerie im Lenbachhaus (Munich, Germany)", "venueWebsiteUrl": null } ], "id": 12000, "startDate": "2021-10-19", "title": "Group Dynamics - Collectives of the Modernist Period", "type": "Loan-out" } ]	Casa	1,970	Tate	1970		CLEARED	6	frame: 1219 × 1032 × 43 mm	accessioned work	Tate	Purchased with funds provided by the Middle East North Africa Acquisitions Committee 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>The title of the painting <i>Casa</i> is a common shortening for the city of Casablanca in the artist’s native Morocco. It can be read as an abstracted cityscape, informed by Melehi’s nomadic lifestyle which saw him travelling from Marrakech to Rome, Paris and New York. In the 1960s, during his stay in New York, he had already worked on a series of paintings with titles like <i>New York</i>, <i>Above Manhattan</i> and <i>Sleeping Manhattan</i> that set up a dialogue with the work of American painters such as Frank Stella, Ellsworth Kelly, Kenneth Nolan and Jules Olitski (whom Melehi met in the early 1960s when the American artist exhibited in Rome at Topazia Alliata Gallery, run by the mother of Melehi’s then wife, Toni Maraini).</p>\n<p>\n<i>Casa</i> embodies a turning point in Melehi’s career – a shift from a canvas support to wood and the beginning of his use of cellulose paint rather than acrylic. This results in a lacquered surface quality that gives the painting a graphic feel. Broadly divided along a diagonal, running from top left to lower right, the composition features Melehi’s signature ‘wave’ motif, turned vertically to resemble flames. This practice of shifting the direction and rhythm of such motifs is typical of Melehi’s work. On other occasions, the wave motif could take on a political meaning, as in his graphic work for the journal <i>Souffles</i>,<i> </i>where his abstracted flames came to symbolise a celebration of the Palestinian cause. The wave also referred implicitly to the curves and swirls of Arabic calligraphy.<br/>\n<i>Casa </i>is one of the first works that explicitly refers to a natural landscape – the wave and concentric circle motifs suggesting the sun and flames. The repetition of colourful stripes of red, yellow, orange, pink, green and blue creates a vibrating, almost hallucinatory effect. Melehi’s nod to American hard-edge abstraction, minimalist and even pop trends is apparent here, though he departs on a journey of his own, defining a style that expands into cosmic dimensions, as his first wife, the art historian Toni Maraini has explained: </p>\n<p class=\"cttext\">\n</p><blockquote>Water, earth, fire, air, assembling and decomposing into sunrays, whirlpools, stars, rainbows, all part of a dramaturgy of natural elements, ouranian and cosmic forces. The interplay between the parts and the whole makes his painting simultaneously static and dynamic: the depth in its link to a vanishing point is often broken, split into two, giving birth to another surface; at times, inserted between a sunray and two interrupted colours, the lightning of an abyss appears in perspective.<br/>(Maraini 2014, pp.130–1, translated by Morad Montazami.)</blockquote>\n<p>Melehi is an influential figure in Moroccan modernism. He was a key member of the Casablanca Art School (with Farid Belkahia and Mohammed Chabâa), an avant-garde group that radically questioned cosmopolitan abstraction and art pedagogy within the context of colonial powers and influences.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Souffles</i>, vols.7–8, Rabat, Morocco, 1969.<br/>Moulim el-Aroussi, <i>Identité et modernité dans la peinture marocaine</i>, exhibition catalogue, Loft Art Gallery, Casablanca 2012.<br/>Toni Maraini, ‘Paragraphes’ (1990), reprinted in Toni Maraini, <i>Ecrits sur l’art</i>, Casablanca 2014.</p>\n<p>Morad Montazami<br/>June 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-07-19T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[ "abstraction", "air", "astronomy", "Casablanca", "cities, towns, villages (non-UK)", "colour", "countries and continents", "earth", "emotions, concepts and ideas", "environment / nature", "fire", "formal qualities", "from recognisable sources", "landscape", "Morocco", "natural phenomena", "places", "sun", "sunbeam", "universal concepts", "water", "weather" ]	null	false	2891 69 39635 2434 1596 1326 189 223 6667 70 975 6644 30 2892 77	false		artwork
Oil paint on canvas	[ { "append_role_to_name": false, "date": "born 1946", "fc": "Juan Davila", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/juan-davila-27292" } ]	120,844	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,988	<a href="https://www.tate.org.uk/art/artists/juan-davila-27292" aria-label="More by Juan Davila" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Juan Davila</a>	Love	2,018		[]	Tate and the Museum of Contemporary Art Australia, presented through the Australian Government’s Cultural Gifts Program by the artist, with support from the Qantas Foundation 2015, purchased 2018	T15050	{ "id": 6, "meta": { "type": "art.Classification" } }			7002591 1001708 1000049 1000002	Juan Davila	1,988	[]	<p>In the painting <span>Love </span>1988 four large capital letters each occupy a quarter of a square canvas; the letters spell out the acronym ‘SIDA’ – Spanish for AIDS (Acquired Immune Deficiency Syndrome). The artist’s use of muted colours, sharply scrawled lines and dripping biomorphic patterns suggests the representation of contamination and possibly the disintegration of the body implied by the progress of the disease. Moreover, the clean, typographic lines of the letters – representing perhaps the ‘hygiene’ of modern design – contrast in this canvas with visceral drips of paint which appear as abstractions of the epidermis and microbiological imagery. Davila’s composition is an explicit reference to Robert Indiana’s (born 1928) work <span>LOVE</span> 1965,<span> </span>an iconic image of the American pop art movement that<span> </span>Indiana produced as a series of prints and sculptures. Davila’s painting deliberately counters the crisp and commercial associations of Indiana’s design through a more subdued and organic painterly surface, expressing subjectivity and personal suffering. Furthermore the bilingual use of the English and Spanish acronyms represents an effort to broaden the visibility of the AIDS epidemic as a global phenomenon, one which affected artists and wider communities across different continents and contexts.</p>	false	1	https://media.tate.org.u…15/T15050_10.jpg	27292	painting oil paint canvas	[ { "artistRoomsTour": false, "dateText": "13 July 2018 – 10 March 2019", "endDate": "2019-03-10", "exhibitionLegs": [ { "dateText": "13 July 2018 – 10 March 2019", "endDate": "2019-03-10", "id": 12484, "startDate": "2018-07-13", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 10284, "startDate": "2018-07-13", "title": "Intimacy, Activism and AIDS", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "18 June 2021 – 30 August 2021", "endDate": "2021-08-30", "exhibitionLegs": [ { "dateText": "18 June 2021 – 30 August 2021", "endDate": "2021-08-30", "id": 13663, "startDate": "2021-06-18", "venueName": "IKON Gallery (Birmingham, UK)", "venueWebsiteUrl": "http://www.ikon-gallery.co.uk" } ], "id": 11273, "startDate": "2021-06-18", "title": "IKON in the 1990s", "type": "Loan-out" } ]	Love	1,988	Tate	1988		CLEARED	6	support: 2000 × 2000 mm	accessioned work	Tate	Tate and the Museum of Contemporary Art Australia, presented through the Australian Government’s Cultural Gifts Program by the artist, with support from the Qantas Foundation 2015, purchased 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>In the painting <i>Love </i>1988 four large capital letters each occupy a quarter of a square canvas; the letters spell out the acronym ‘SIDA’ – Spanish for AIDS (Acquired Immune Deficiency Syndrome). The artist’s use of muted colours, sharply scrawled lines and dripping biomorphic patterns suggests the representation of contamination and possibly the disintegration of the body implied by the progress of the disease. Moreover, the clean, typographic lines of the letters – representing perhaps the ‘hygiene’ of modern design – contrast in this canvas with visceral drips of paint which appear as abstractions of the epidermis and microbiological imagery. Davila’s composition is an explicit reference to Robert Indiana’s (born 1928) work <i>LOVE</i> 1965,<i> </i>an iconic image of the American pop art movement that<i> </i>Indiana produced as a series of prints and sculptures. Davila’s painting deliberately counters the crisp and commercial associations of Indiana’s design through a more subdued and organic painterly surface, expressing subjectivity and personal suffering. Furthermore the bilingual use of the English and Spanish acronyms represents an effort to broaden the visibility of the AIDS epidemic as a global phenomenon, one which affected artists and wider communities across different continents and contexts.</p>\n<p>Davila’s painting was produced the same year as <i>AIDS</i> 1988, a work by the art collective General Idea, also based on Robert Indiana’s design, that circulated widely among activists in North America responding to the AIDS crisis. While produced in separate contexts, both Davila’s painting and the work by General Idea aimed to contest the hetero-normative associations that the word ‘love’ carried in Indiana’s depiction of ‘americana’<i> </i>pop culture, and to appropriate both commercial design and art history towards activists ends. Chilean-born but resident in Australia since 1974, Davila is considered a central figure for contributing new languages in painting that address queer visual culture and aim to widen and contradict representations of historical events and narratives. Through often grotesque representations of human figures, Davila’s paintings, drawings and installations interrogate ideas and depictions of cultural, sexual and social identity, particularly with regards to the effects of political violence as well as sexual and racial discrimination. An important body of his work explores the impact of colonial policies on indigenous peoples, both Amerindian cultures and Australian aboriginals. His paintings from the 1990s in particular, such as <i>Yawar Fiesta </i>1998 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/davila-yawar-fiesta-fiesta-sangrienta-t15520\" title=\"View the details of this artwork\"><span>T15520</span></a>), satirically intertwine contemporary politics and art historical references including European history painting, Latin American modernism, American pop art, Aboriginal art and native art traditions to address the impact of colonialism and neo-colonialism on contemporary culture.</p>\n<p>\n<b>Further reading</b>\n<br/>Juan Davila, <i>Hysterical Tears</i>, Farnham 1985.<br/>Guy Brett, Roger Benjamin and Juan Davila, <i>Juan Davila</i>, Sydney 2006.<br/>Dominic Eichler, ‘Juan Davila’, <i>frieze</i>, 5 May 2007, <a href=\"https://frieze.com/article/juan-davila\">https://frieze.com/article/juan-davila</a>, accessed November 2017. <br/>Kate Brigs, <i>Juan Davila: The Moral Meaning of Wilderness</i>, exhibition catalogue, Drill Hall Gallery, Canberra Griffith University, Brisbane 2011.</p>\n<p>Inti Guerrero, Michael Wellen and Katy Wan<br/>November 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-07-18T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
41 photographs, digital c-print on paper, 37 banknotes, ink on paper and graphite on board	[ { "append_role_to_name": false, "date": "born 1948", "fc": "Susan Meiselas", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/susan-meiselas-13487" } ]	120,847	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	2,014	<a href="https://www.tate.org.uk/art/artists/susan-meiselas-13487" aria-label="More by Susan Meiselas" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Susan Meiselas</a>	20 dirhams or 1 photo	2,018		[]	Purchased with funds from the Photography Acquisitions Committee 2018	T15051	{ "id": 3, "meta": { "type": "art.Classification" } }			7021987 7007516 7012149	Susan Meiselas	2,014	[]	<p>Meiselas made this work during a two-week residency in Morocco. She set up a pop-up photographic studio in a spice market in Marrakech. Working with Moroccan photographers Imane Barakat and Laila Hida, she invited women who worked there to have their portrait taken. Each participant was given a choice: she could either receive the print of her portrait or a payment of 20 dirhams (approximately £1.60). By accepting the payment, a participant gave the artist permission to keep and exhibit the print. Through this process Meiselas raised questions about identify and the ownership of one’s own image.</p><p><em>Gallery label, December 2019</em></p>	false	1	https://media.tate.org.u…T15/T15051_9.jpg	13487	installation 41 photographs digital c-print paper 37 banknotes ink graphite board	[ { "artistRoomsTour": false, "dateText": "25 November 2019 – 9 May 2021", "endDate": "2021-05-09", "exhibitionLegs": [ { "dateText": "25 November 2019 – 9 May 2021", "endDate": "2021-05-09", "id": 13564, "startDate": "2019-11-25", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11186, "startDate": "2019-11-25", "title": "Portraits", "type": "Collection based display" } ]	20 dirhams or 1 photo?	2,014	Tate	2014		CLEARED	3	Overall display dimensions variable	accessioned work	Tate	Purchased with funds from the Photography Acquisitions Committee 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>20 Dirhams or 1 Photo? </i>2014 is a photographic installation consisting of forty-one colour portraits, and nineteen 20-dirham Moroccan bank notes and eighteen 50-dirham notes. The portraits and bank notes are arranged in chronological order to represent the interaction between the photographer, Susan Meiselas, and the participants who had their portrait taken throughout the course of one day. They are framed in four frames and hung as an installation to form one work. The portraits are shot in a traditional style, with a backdrop and studio lighting. They were taken in Marrakech, Morocco during a two-week residency in 2013. For the project Meiselas set up a pop-up photographic studio in the spice market Rahba Kedima (Spice Square) in Marrakech and invited women to have their portrait taken. Each woman who agreed to participate was then given a choice: either she could receive the print of her portrait, or she could receive a payment of 20 dirhams (approximately £1.60) in exchange for giving the artist permission to keep and exhibit the print. Each woman was asked to make the choice before the portrait was taken. Of the seventy-eight women who participated, sixty agreed to let Meiselas use their portrait and were given the payment of 20 dirhams in exchange. Each woman’s signature can be found at the bottom of the print acknowledging their consent. Eighteen women decided to keep their print and as a result Meiselas decided to exhibit the eighteen remaining 20-dirham notes to indicate that no money had been exchanged.</p>\n<p>In a country where photography is viewed with suspicion, Meiselas was able to overcome these barriers by actively confronting issues of authorship and ownership of an image, asking the question ‘What is the value of a photograph to the subject of the image?; and is this an aesthetic object or an economic exchange?’ Meiselas has explained:</p>\n<p class=\"cttext\">\n</p><blockquote>A photograph is an expression of a relationship. What can I offer or exchange? Tourists taking pictures of people as objects merely part of the landscape; I see the pictures I am not taking. An outsider acknowledgement of the impossibility; No illusions to immerse. Doors open slightly only to reveal lives which cannot be entered. The challenge is to create active participation by those who protest the photograph being made: a collaboration of a pop-up Sunday studio to confront the question of the value of a photograph vs. the dirham to those imaged here?<br/>(Susan Meiselas, quoted at <a href=\"https://mmpva.org/2014/02/a-portrait-of-marrakech-by-magnum/\">https://mmpva.org/2014/02/a-portrait-of-marrakech-by-magnum/</a>, accessed 20 September 2016.)</blockquote>\n<p>By only focusing on women and asking them directly for their permission to show their portraits in public, Meiselas was also raising questions around issues of gender, identity and ownership of one’s image in non-western cultures where public displays of photographic portraiture are not part of common practice.</p>\n<p>\n<i>20 Dirhams or 1 Photo? </i>was made as part of the project <i>A Portrait of Marrakech</i> for which five prominent photographers from the Magnum photographic agency undertook a two-week residency in Marrakech. The residency project was a collaboration between Magnum and the Marrakech Museum for Photography and Visual Arts (MMPVA) and culminated in an exhibition curated by Simon Njami at the historic El Badi Palace. Every woman who participated in Meiselas’s work by having their portrait taken received an invitation to the opening of the exhibition. The work has been produced in an edition of three. The first includes sixty photographs and eighteen 20-dirham notes. The second and third, which is Tate’s, comprise forty-one photographs, nineteen 20-dirham notes and eighteen 50-dirham notes. The eighteen 50-dirham notes represent the eighteen women who could not be found after the opening to grant permission for the work to be exhibited outside Morocco. The other two copies of the edition are in the collections of the Marrakech Museum for Photography and Visual Arts and the San Francisco Museum of Modern Art.</p>\n<p>Over the past four decades Meiselas has been at the forefront of new photographic practice, repeatedly pushing the boundaries of politically challenging and socially engaged photography. She joined Magnum in 1976, and at the time was one of the only female members of the agency. She has pioneered collaboration and audience engagement in photographic practice and, in <i>20 Dirhams or 1 Photo?</i>,<i> </i>has credited two Moroccan artists and the seventy-eight women involved in the project as co-authors of the work stating: ‘this is a collaborative project by Susan Meiselas, with Laila Hida, Imane Barakat, and 78 women from the spice market.’</p>\n<p>\n<b>Further reading</b>\n<br/>Susan Meiselas, <i>Carnival Strippers</i>, New York 1976; revised edition, New York 2003.<br/>Susan Meiselas<i> Kurdistan: In the Shadow of History</i>, London 1997; reprinted, Chicago 2008.</p>\n<p>Shoair Mavlian<br/>September 2016</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-09-05T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Meiselas made this work during a two-week residency in Morocco. She set up a pop-up photographic studio in a spice market in Marrakech. Working with Moroccan photographers Imane Barakat and Laila Hida, she invited women who worked there to have their portrait taken. Each participant was given a choice: she could either receive the print of her portrait or a payment of 20 dirhams (approximately £1.60). By accepting the payment, a participant gave the artist permission to keep and exhibit the print. Through this process Meiselas raised questions about identify and the ownership of one’s own image.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2019-12-04T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]	[]	null	false		false		artwork
Oil paint on canvas	[ { "append_role_to_name": false, "date": "1912–2004", "fc": "Wilhelmina Barns-Graham", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/wilhelmina-barns-graham-697" } ]	120,856	[ { "id": 999999873, "shortTitle": "Tate St Ives" }, { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999872, "shortTitle": "Works on display" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,957	<a href="https://www.tate.org.uk/art/artists/wilhelmina-barns-graham-697" aria-label="More by Wilhelmina Barns-Graham" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Wilhelmina Barns-Graham</a>	White Black and Yellow Composition February	2,018		[ { "map_gallery": "TSI", "map_gallery_label": "Tate St Ives", "map_level": "TSI_03", "map_level_label": "TSI Level 3", "map_space": "TSI32", "map_space_label": "Tate St Ives / TSI32", "map_wing": null, "map_wing_label": null, "map_zone": null, "map_zone_label": null, "nid": "479052" } ]	Presented by Wilhelmina Barns-Graham Trust with Art Fund support 2018	T15052	{ "id": 6, "meta": { "type": "art.Classification" } }		441	7009562 7008076 7002444 7008591	Wilhelmina Barns-Graham	1,957	[ { "archiveItemCount": 1, "id": 184, "level": 1, "name": "abstraction", "parent_id": 1, "workCount": 8614 }, { "archiveItemCount": 214, "id": 226, "level": 3, "name": "geometric", "parent_id": 185, "workCount": 2858 }, { "archiveItemCount": 1, "id": 185, "level": 2, "name": "non-representational", "parent_id": 184, "workCount": 6160 } ]	<p><span>White, Black and Yellow (Composition February)</span> 1957 is a painting in a landscape format that uses abstract elements of line and colour to describe a view onto a three-dimensional space. A series of densely-painted black lines or shafts stand across the painting at acute angles. Set behind these prominent black structures are thinner black lines: some of these lie perpendicular to the vertical black lines like a horizon-line or a scaffold; others are angled so they seem to describe perspectival lines leading from the foreground towards a more distant space. Within this structure are placed three yellow lozenges or patches of colour which punctuate and describe the middle ground. Each is physically close to a vertical black line of corresponding thickness, and their variation in size enhances the suggestion of depth behind the picture plane. The largest is closest to the lower edge of the painting while the two smaller ones, placed higher up, seem to be further behind. The suggestion of depth is also achieved by the overpainting of some black lines in the middle ground with white paint. This wider field of white and grey seems to describe a low-lying ground or floor (upon which some darker sections might be read as shadows) and a visual field saturated with light.</p>	false	1	https://media.tate.org.u…15/T15052_10.jpg	697	painting oil paint canvas	[ { "artistRoomsTour": false, "dateText": "29 April 2019 – 22 March 2020", "endDate": "2020-03-22", "exhibitionLegs": [ { "dateText": "29 April 2019 – 22 March 2020", "endDate": "2020-03-22", "id": 13156, "startDate": "2019-04-29", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 10830, "startDate": "2019-04-29", "title": "G35 Refresh", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "13 March 2021", "endDate": null, "exhibitionLegs": [ { "dateText": "13 March 2021", "endDate": null, "id": 14382, "startDate": "2021-03-13", "venueName": "Tate St Ives (St Ives, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/stives/" } ], "id": 11861, "startDate": "2021-03-13", "title": "Gallery 2: Modern Art and St Ives", "type": "Collection based display" } ]	White, Black and Yellow (Composition February)	1,957	Tate	1957		CLEARED	6	frame: 1272 × 2039 × 60 mm	accessioned work	Tate	Presented by Wilhelmina Barns-Graham Trust with Art Fund support 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>White, Black and Yellow (Composition February)</i> 1957 is a painting in a landscape format that uses abstract elements of line and colour to describe a view onto a three-dimensional space. A series of densely-painted black lines or shafts stand across the painting at acute angles. Set behind these prominent black structures are thinner black lines: some of these lie perpendicular to the vertical black lines like a horizon-line or a scaffold; others are angled so they seem to describe perspectival lines leading from the foreground towards a more distant space. Within this structure are placed three yellow lozenges or patches of colour which punctuate and describe the middle ground. Each is physically close to a vertical black line of corresponding thickness, and their variation in size enhances the suggestion of depth behind the picture plane. The largest is closest to the lower edge of the painting while the two smaller ones, placed higher up, seem to be further behind. The suggestion of depth is also achieved by the overpainting of some black lines in the middle ground with white paint. This wider field of white and grey seems to describe a low-lying ground or floor (upon which some darker sections might be read as shadows) and a visual field saturated with light.</p>\n<p>The use of colours in the painting’s title reflects how it describes a space in abstract terms and is less dependent than earlier works by Barns-Graham (such as <i>Rock Theme, St Just</i> 1953 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/barns-graham-rock-theme-st-just-t15724\" title=\"View the details of this artwork\"><span>T15724</span></a>]) upon the physical forms of specific landscapes. The inclusion of the name of a month within this title might also suggest the artist’s awareness – whether at the time or subsequent – of developments she was making in her painting during this time. Furthermore, the allusion to ‘February’ suggests that the work connects with colours or forms experienced during this time of year. Although Barns-Graham did not advocate reading it in such specific terms, curator and historian Lynne Green notes that this painting might relate to the artist’s experience of snow-covered fields in North Yorkshire, where she had taken a short-term teaching position at Leeds School of Art (Green 2001). In its treatment of colour it certainly connects most clearly with the paintings <i>Snow at Wharfedale II </i>1957 and <i>Yellow Painting</i>, painted in<i> </i>June 1957.</p>\n<p>Green has also explained the importance of writings on the Golden Section to Barns-Graham’s work during the later 1950s, but explains that this framework ‘is rarely, if ever, rigidly adhered to: having established it, the artist then works across it and outside it’ (ibid.). <i>White, Black and Yellow (Composition February)</i> evidences the increased freedom with which she worked during 1957, stepping further away from the conventions of naturalistic depiction and focusing instead on how line and colour can help to recreate an equally ambient sense of space, light and structure.</p>\n<p>\n<b>Further reading</b>\n<br/>Lynne Green, <i>W. Barns-Graham: A Studio Life</i>, 2001, reproduced p.163.<br/>\n<i>Wilhelmina Barns-Graham: Movement and Light Imag(in)ing Time</i>, exhibition catalogue, Tate St Ives, 22 January–2 May 2005, reproduced p.37.</p>\n<p>Rachel Smith<br/>November 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-11-24T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[ "abstraction", "geometric", "non-representational" ]	null	false	226 185	true		artwork
Film, 16mm, shown as video, high definition, projection, black and white and colour and sound (stereo)	[ { "append_role_to_name": false, "date": "born 1973/ born 1975", "fc": "Nashashibi/Skaer", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/nashashibi-skaer-17632" } ]	120,859	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999780, "shortTitle": "Tate Patrons" }, { "id": 999999956, "shortTitle": "Collection" } ]	2,017	<a href="https://www.tate.org.uk/art/artists/nashashibi-skaer-17632" aria-label="More by Nashashibi/Skaer" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Nashashibi/Skaer</a>	Why Are You Angry	2,018		[]	Presented by Tate Patrons 2018	T15054	{ "id": 10, "meta": { "type": "art.Classification" } }			7002445 7008591	Nashashibi/Skaer	2,017	[ { "archiveItemCount": 1792, "id": 92, "level": 2, "name": "actions: postures and motions", "parent_id": 91, "workCount": 7319 }, { "archiveItemCount": 0, "id": 95, "level": 2, "name": "adults", "parent_id": 91, "workCount": 20120 }, { "archiveItemCount": 858, "id": 67, "level": 3, "name": "animals: mammals", "parent_id": 60, "workCount": 4013 }, { "archiveItemCount": 1, "id": 13, "level": 1, "name": "architecture", "parent_id": 1, "workCount": 30959 }, { "archiveItemCount": 316, "id": 1303, "level": 3, "name": "colonialism", "parent_id": 158, "workCount": 113 }, { "archiveItemCount": 4059, "id": 108, "level": 2, "name": "countries and continents", "parent_id": 106, "workCount": 13331 }, { "archiveItemCount": 290, "id": 570, "level": 3, "name": "dog - non-specific", "parent_id": 67, "workCount": 753 }, { "archiveItemCount": 5302, "id": 29, "level": 1, "name": "emotions, concepts and ideas", "parent_id": 1, "workCount": 11114 }, { "archiveItemCount": 4877, "id": 10639, "level": 2, "name": "fine art and design, named works", "parent_id": 78, "workCount": 1276 }, { "archiveItemCount": 3599, "id": 6729, "level": 2, "name": "formal qualities", "parent_id": 29, "workCount": 8855 }, { "archiveItemCount": 0, "id": 42448, "level": 3, "name": "Gauguin, Paul, painting, ‘No te aha oe riri (Why Are You Angry?)’ 1896", "parent_id": 10639, "workCount": 1 }, { "archiveItemCount": 1506, "id": 863, "level": 3, "name": "gender", "parent_id": 158, "workCount": 183 }, { "archiveItemCount": 291, "id": 799, "level": 3, "name": "group", "parent_id": 97, "workCount": 3936 }, { "archiveItemCount": 415, "id": 97, "level": 2, "name": "groups", "parent_id": 91, "workCount": 4741 }, { "archiveItemCount": 1306, "id": 213, "level": 3, "name": "house", "parent_id": 26, "workCount": 1369 }, { "archiveItemCount": 10, "id": 1219, "level": 3, "name": "legs crossed", "parent_id": 92, "workCount": 137 }, { "archiveItemCount": 674, "id": 55, "level": 1, "name": "literature and fiction", "parent_id": 1, "workCount": 2464 }, { "archiveItemCount": 0, "id": 42374, "level": 3, "name": "mythology - non specific", "parent_id": 57, "workCount": 3 }, { "archiveItemCount": 9924, "id": 78, "level": 1, "name": "objects", "parent_id": 1, "workCount": 13647 }, { "archiveItemCount": 0, "id": 91, "level": 1, "name": "people", "parent_id": 1, "workCount": 22072 }, { "archiveItemCount": 122, "id": 9328, "level": 3, "name": "photographic", "parent_id": 6729, "workCount": 4551 }, { "archiveItemCount": 0, "id": 106, "level": 1, "name": "places", "parent_id": 1, "workCount": 26467 }, { "archiveItemCount": 2404, "id": 26, "level": 2, "name": "residential", "parent_id": 13, "workCount": 3149 }, { "archiveItemCount": 811, "id": 694, "level": 3, "name": "sitting", "parent_id": 92, "workCount": 2536 }, { "archiveItemCount": 4671, "id": 158, "level": 2, "name": "social comment", "parent_id": 145, "workCount": 1913 }, { "archiveItemCount": 0, "id": 145, "level": 1, "name": "society", "parent_id": 1, "workCount": 15153 }, { "archiveItemCount": 644, "id": 270, "level": 3, "name": "standing", "parent_id": 92, "workCount": 2462 }, { "archiveItemCount": 1, "id": 4655, "level": 3, "name": "Tahiti", "parent_id": 108, "workCount": 3 }, { "archiveItemCount": 150, "id": 57, "level": 2, "name": "tales, legends and traditional", "parent_id": 55, "workCount": 91 }, { "archiveItemCount": 1168, "id": 167, "level": 3, "name": "woman", "parent_id": 95, "workCount": 7942 } ]	<p><span>Why Are You Angry? </span>2017 is a film by British artists Nashashibi / Skaer lasting eighteen minutes. It was co-commissioned by Tate St Ives, La Fayette Foundation and Creative Scotland and exists in an edition of five plus two artists’ proofs. This copy is number two in the main edition. The film was originally made on 16mm and transferred to HD video. For exhibition it should be projected in a dark space with seating.</p>	false	1	https://media.tate.org.u…15/T15054_10.jpg	17632	time-based media film 16mm shown as video high definition projection black white colour sound stereo	[ { "artistRoomsTour": false, "dateText": "20 October 2018 – 6 January 2019", "endDate": "2019-01-06", "exhibitionLegs": [ { "dateText": "20 October 2018 – 6 January 2019", "endDate": "2019-01-06", "id": 9666, "startDate": "2018-10-20", "venueName": "Tate St Ives (St Ives, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/stives/" } ], "id": 7944, "startDate": "2018-10-20", "title": "Nashashibi/Skaer: Thinking through other artists", "type": "Exhibition" } ]	Why Are You Angry?	2,017	Tate	2017		CLEARED	10	duration: 18min	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> 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Why Are You Angry? </i>2017 is a film by British artists Nashashibi / Skaer lasting eighteen minutes. It was co-commissioned by Tate St Ives, La Fayette Foundation and Creative Scotland and exists in an edition of five plus two artists’ proofs. This copy is number two in the main edition. The film was originally made on 16mm and transferred to HD video. For exhibition it should be projected in a dark space with seating. </p>\n<p>Taking its title from one of Paul Gauguin’s (1848–1903) late paintings made in Tahiti, <i>No te aha oe riri</i> (Why Are You Angry?) 1896 (Art Institute of Chicago), Nashashibi / Skaer’s film follows Gauguin’s voyage to Tahiti. As a contemporary exploration of the established narratives that surround Gauguin and his time in French Polynesia, the film also functions as a reclamation of the exoticised woman and asks fundamental questions about representations of women, colonised lands and the power of myth. The film was first shown in Athens as part of <i>documenta 14</i> 2017 and then at Tate Modern, London in September 2017. </p>\n<p>Often using historical references or taking the work or biographies of individual artists as starting points, Nashashibi / Skaer’s collaborative films oscillate between the symbolic and the documentary. For them the camera becomes an eye, used to record fleeting moments and events, and merging everyday observations with fantastical and mythological histories and fictions. Their films are often meditative and sensuous and utilise an array of filmic conventions in order to challenge the gendered nature of art historical genius, female value, empathy as a radical position, and the subjective self in relation to the mediated body. Previous collaborative works include <i>Pygmalion Event</i> 2008, a double video projection concerned with the topic of metamorphosis, religion and art history and filmed in the Vence Chapel, France, which was designed by Henri Matisse (1869–1964) as a ‘total work of art’. A year later the pair made <i>Our Magnolia</i> 2009, a single channel 16mm film that takes Paul Nash’s (1889–1946) painting <i>Flight of the Magnolia</i> 1944 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/nash-flight-of-the-magnolia-t07552\" title=\"View the details of this artwork\"><span>T07552</span></a>) as its starting point and intercuts details of Nash’s painting with other images: actual magnolia blossoms, a whale skeleton deteriorating on a deserted beach, footage from the response to the looting of Iraq’s National Museum, and a haunting photograph of former British Prime Minister Margaret Thatcher. Nash’s painting becomes more and more ominous as the film constructs its flight through Thatcherism and the Iraq War, before returning to Nash’s painting and his position as an official war artist during World Wars I and II.</p>\n<p>Created nearly eight years later,<i> Why Are You Angry?</i> extends the duo’s interest in the role of artists in the construction of history. The film moves between choreographed and informal footage of different Tahitian women dancing in front of their homes, going to work, to the supermarket, swimming at a waterfall, driving in their cars, and re-enacting recognisable tableaux from Gauguin’s paintings. Thus, as well as its title, the film borrows<b> </b>both locations and poses directly from Gauguin, in order to examine the problems and potentials of re-imagining women through his particular gaze. Seeking to reclaim his fetishised subjects through the artists’ own female gazes, the film flickers between moments of great beauty – a beach or waterfall scene, or scenes in which the women are relaxed, dancing, talking and singing – and moments of knowing and deliberate discomfort, in which they appear nude and posed to resemble a particular work by Gauguin, visibly vulnerable and frustrated. In this way, the film directly addresses the difference between a filmic gaze in which time passes, the agitation of the subject is notable and the audience – and artists – are implicated by their own gaze, and a painterly gaze in which time is seemingly captured as a single moment and the subject of a painting can read as an object. </p>\n<p>British artists Rosalind Nashashibi and Lucy Skaer have collaborated as Nashashibi / Skaer since 2005. Both also have individual practices across a range of media, including sculpture, painting, photography and film.</p>\n<p>\n<b>Further reading</b>\n<br/>Lucy Skaer, <i>Lucy Skaer,</i> Fruitmarket Gallery, Edinburgh 2008.<br/>Herbert Martin and Rosalind Nashashibi, <i>Rosalind Nashashibi</i>, ICA, London 2009.<br/>Quinn Latimer and Adam Szymczyk, <i>Documenta Daybook</i>, Munich 2017, pp. 126–7.</p>\n<p>Laura Smith<br/>June 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-09-05T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[ "actions: postures and motions", "adults", "animals: mammals", "architecture", "colonialism", "countries and continents", "dog - non-specific", "emotions, concepts and ideas", "fine art and design, named works", "formal qualities", "Gauguin, Paul, painting, ‘No te aha oe riri (Why Are You Angry?)’ 1896", "gender", "group", "groups", "house", "legs crossed", "literature and fiction", "mythology - non specific", "objects", "people", "photographic", "places", "residential", "sitting", "social comment", "society", "standing", "Tahiti", "tales, legends and traditional", "woman" ]	null	false	92 67 1303 570 10639 863 799 97 213 1219 42374 9328 26 694 158 270 4655 57 167	false		artwork
Film, 16mm, shown as video, high definition, projection, colour and sound (stereo)	[ { "append_role_to_name": false, "date": "born 1973", "fc": "Rosalind Nashashibi", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/rosalind-nashashibi-7347" } ]	120,860	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999780, "shortTitle": "Tate Patrons" }, { "id": 999999956, "shortTitle": "Collection" } ]	2,017	<a href="https://www.tate.org.uk/art/artists/rosalind-nashashibi-7347" aria-label="More by Rosalind Nashashibi" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Rosalind Nashashibi</a>	Vivians Garden	2,018		[]	Presented by Tate Patrons 2018	T15055	{ "id": 10, "meta": { "type": "art.Classification" } }			7012088 7008136 7002445 7008591	Rosalind Nashashibi	2,017	[]	<p><span>Vivian’s Garden</span> 2017 is a thirty-minute colour film with sound that depicts the relationship between two Swiss /Austrian émigré artists who are mother and daughter – Elisabeth Wild (born 1922) and Vivian Suter (born 1949). The film was shot and is set in the connected houses the two women share in a jungle garden in Panajachel, Guatemala, where they have developed a matriarchal compound in an environment that seems to be a site of both refuge and fear. The home and garden are places of terror as well as healing, and the film outlines how, for example, a recent problem with a criminal neighbour caused the pair to be under curfew and threats, while catastrophic floods, kidnappers and fear of intruders are ever-present. On the other hand, they lead an idyllic life, making art in beautiful surroundings, living simply, being taken care of and taking care of each other.</p>	false	1	https://media.tate.org.u…15/T15055_10.jpg	7347	time-based media film 16mm shown as video high definition projection colour sound stereo	[ { "artistRoomsTour": false, "dateText": "6 November 2021 – 13 February 2022", "endDate": "2022-02-13", "exhibitionLegs": [ { "dateText": "6 November 2021 – 13 February 2022", "endDate": "2022-02-13", "id": 14616, "startDate": "2021-11-06", "venueName": "Kunstmuseum (Luzern, Switzerland)", "venueWebsiteUrl": "http://www.kunstmuseumluzern.ch" } ], "id": 12040, "startDate": "2021-11-06", "title": "Vivian Suter. Retrospective", "type": "Loan-out" } ]	Vivian’s Garden	2,017	Tate	2017		CLEARED	10	duration: 29min, 50sec	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> 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Vivian’s Garden</i> 2017 is a thirty-minute colour film with sound that depicts the relationship between two Swiss /Austrian émigré artists who are mother and daughter – Elisabeth Wild (born 1922) and Vivian Suter (born 1949). The film was shot and is set in the connected houses the two women share in a jungle garden in Panajachel, Guatemala, where they have developed a matriarchal compound in an environment that seems to be a site of both refuge and fear. The home and garden are places of terror as well as healing, and the film outlines how, for example, a recent problem with a criminal neighbour caused the pair to be under curfew and threats, while catastrophic floods, kidnappers and fear of intruders are ever-present. On the other hand, they lead an idyllic life, making art in beautiful surroundings, living simply, being taken care of and taking care of each other.</p>\n<p>Elisabeth is in her nineties and Vivian in her sixties and they live with the constant company of two or more indigenous villagers as guardians and maids. The film takes a close and intimate look at their artistic, emotional and economic lives. Rituals of care and the intricate ambiguity of their colonial situation – which the film does not shy away from – are combined with images documenting the extremely close bond between mother and daughter, as well as the sensuous life of the garden itself. Nashashibi has commented: ‘Vivian Suter and her mother Elisabeth Wild are two artists in self-imposed exile in Panajachel, Guatemala. They are as close as maiden sisters; each is at times mother and daughter to the other, and sometimes they are my mother and my daughter too.’ (In email correspondence with Tate curator Laura Smith, 5 June 2017.)</p>\n<p>The film brings together a number of themes that have become increasingly common in Nashashibi’s work, including: an exploration of the nuances of everyday life in unusual or remarkable surroundings, questions around confinement or enclosure, and the role of women within and without communities. In works such as <i>Electrical Gaza</i> 2015, Nashashibi combined observations of domestic life in Gaza with animated segments that consider the notion of community in contemporary Palestine (the artist herself is of mixed Irish and Palestinian heritage). Footage of families and friends engaged in everyday activities are contrasted with unapologetic reminders of the local political situation and geographical isolation. Her collaborative work with Lucy Skaer, <i>Why Are You Angry</i>? 2017 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/nashashibi-skaer-why-are-you-angry-t15054\" title=\"View the details of this artwork\"><span>T15054</span></a>) takes its title from one of Paul Gauguin’s (1848–1903) late paintings, and follows his voyage to Tahiti. As a contemporary exploration of the established narratives that surround Gauguin and his time in French Polynesia, the film functions as a reclamation of the exoticised woman and asks fundamental questions about representations of women, colonised lands and the power of myth.</p>\n<p>A tender and emotive portrait, <i>Vivian’s Garden </i>furthers Nashashibi’s interest in the tension between private self and public performance within an isolated community, examining it through a matriarchal lens in which care, creativity and self-sufficiency flourish. As viewers, we become party to the work of Suter – whose paintings make use of the volcanic and meteorological landscape of Panajachel, and Wild – whose vibrant and taut collages seem to punctuate the film. We watch as they eat lunch and talk to their dogs, as they spend time in their respective studios or make work in the surrounding gardens. We also watch as Wild leafs through an issue of <i>Artforum</i> and stacks of her drawings, or as Suter prepares to depart for <i>Documenta </i>in Athens where she is also exhibiting work, laying potential outfits for the trip on her bed for her mother’s consideration. Suter provides the voiceover throughout the film, explaining the decisions and narrative behind their relative isolation, their care for one another and for the indigenous population with whom they share their home, and the ways in which the particularities of their context have shifted their artistic output.</p>\n<p>\n<i>Vivian’s Garden</i> exists in an edition of three, of which Tate’s copy is the first, plus two artist’s proofs; it is shown as a projection in a darkened space. It was first shown at <i>Documenta</i> <i>14 </i>in both Athens and Kassel in 2017. Nashashibi often presents her films alongside objects and paintings that expand on their themes, and in<i> </i>Kassel she exhibited several abstract paintings with the film. One of these paintings in particular, <i>In Vivian’s Garden </i>2016, is also 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/nashashibi-in-vivians-garden-t15036\" title=\"View the details of this artwork\"><span>T15036</span></a>). It has a strong resonance with <i>Vivian’s Garden </i>and was made in direct response to Nashashibi’s time spent making the film in Guatemala.</p>\n<p>\n<b>Further reading</b>\n<br/>Francis McKee, <i>Rosalind Nashashibi</i>, Fruitmarket Gallery, Edinburgh 2003.<br/>Herbert Martin and Rosalind Nashashibi, <i>Rosalind Nashashibi</i>, Institute of Contemporary Arts, London 2009.<br/>Quinn Latimer and Adam Szymczyk, <i>Documenta Daybook,</i> Munich 2017.</p>\n<p>Laura Smith<br/>November 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-09-05T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Oil paint on canvas	[ { "append_role_to_name": false, "date": "born 1965", "fc": "Zhang Enli", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/zhang-enli-14153" } ]	120,861	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,997	<a href="https://www.tate.org.uk/art/artists/zhang-enli-14153" aria-label="More by Zhang Enli" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Zhang Enli</a>	Meat Market 1	2,018		[]	Presented by Qiao Zhibing in honour of Gregor Muir 2017	T15056	{ "id": 6, "meta": { "type": "art.Classification" } }			1069269 7002372 1000111 1000004	Zhang Enli	1,997	[ { "archiveItemCount": 1792, "id": 92, "level": 2, "name": "actions: postures and motions", "parent_id": 91, "workCount": 7319 }, { "archiveItemCount": 0, "id": 95, "level": 2, "name": "adults", "parent_id": 91, "workCount": 20120 }, { "archiveItemCount": 1, "id": 13, "level": 1, "name": "architecture", "parent_id": 1, "workCount": 30959 }, { "archiveItemCount": 100, "id": 1050, "level": 3, "name": "arm / arms raised", "parent_id": 92, "workCount": 739 }, { "archiveItemCount": 3, "id": 3111, "level": 3, "name": "Asian", "parent_id": 179, "workCount": 114 }, { "archiveItemCount": 12, "id": 3901, "level": 3, "name": "butcher", "parent_id": 180, "workCount": 14 }, { "archiveItemCount": 22, "id": 2998, "level": 3, "name": "China", "parent_id": 108, "workCount": 16 }, { "archiveItemCount": 2876, "id": 107, "level": 2, "name": "cities, towns, villages (non-UK)", "parent_id": 106, "workCount": 10447 }, { "archiveItemCount": 4059, "id": 108, "level": 2, "name": "countries and continents", "parent_id": 106, "workCount": 13331 }, { "archiveItemCount": 3337, "id": 31, "level": 2, "name": "emotions and human qualities", "parent_id": 29, "workCount": 2008 }, { "archiveItemCount": 5302, "id": 29, "level": 1, "name": "emotions, concepts and ideas", "parent_id": 1, "workCount": 11114 }, { "archiveItemCount": 4241, "id": 179, "level": 2, "name": "ethnicity", "parent_id": 91, "workCount": 632 }, { "archiveItemCount": 351, "id": 286, "level": 2, "name": "food and drink", "parent_id": 78, "workCount": 629 }, { "archiveItemCount": 3599, "id": 6729, "level": 2, "name": "formal qualities", "parent_id": 29, "workCount": 8855 }, { "archiveItemCount": 7, "id": 19508, "level": 3, "name": "gestural", "parent_id": 6729, "workCount": 756 }, { "archiveItemCount": 0, "id": 11100, "level": 3, "name": "knife", "parent_id": 86, "workCount": 6 }, { "archiveItemCount": 0, "id": 47, "level": 1, "name": "leisure and pastimes", "parent_id": 1, "workCount": 3435 }, { "archiveItemCount": 1455, "id": 195, "level": 3, "name": "man", "parent_id": 95, "workCount": 8998 }, { "archiveItemCount": 140, "id": 13609, "level": 3, "name": "market", "parent_id": 24, "workCount": 146 }, { "archiveItemCount": 11, "id": 5193, "level": 3, "name": "meat", "parent_id": 286, "workCount": 44 }, { "archiveItemCount": 9924, "id": 78, "level": 1, "name": "objects", "parent_id": 1, "workCount": 13647 }, { "archiveItemCount": 0, "id": 91, "level": 1, "name": "people", "parent_id": 1, "workCount": 22072 }, { "archiveItemCount": 24, "id": 759, "level": 3, "name": "pessimism", "parent_id": 31, "workCount": 21 }, { "archiveItemCount": 0, "id": 106, "level": 1, "name": "places", "parent_id": 1, "workCount": 26467 }, { "archiveItemCount": 1092, "id": 24, "level": 2, "name": "public and municipal", "parent_id": 13, "workCount": 1293 }, { "archiveItemCount": 1562, "id": 52, "level": 2, "name": "recreational activities", "parent_id": 47, "workCount": 1274 }, { "archiveItemCount": 1, "id": 20418, "level": 3, "name": "Shanghai", "parent_id": 107, "workCount": 3 }, { "archiveItemCount": 811, "id": 694, "level": 3, "name": "sitting", "parent_id": 92, "workCount": 2536 }, { "archiveItemCount": 109, "id": 2800, "level": 3, "name": "smoking", "parent_id": 52, "workCount": 171 }, { "archiveItemCount": 363, "id": 86, "level": 2, "name": "tools and machinery", "parent_id": 78, "workCount": 924 }, { "archiveItemCount": 150, "id": 2567, "level": 3, "name": "trader", "parent_id": 180, "workCount": 95 }, { "archiveItemCount": 710, "id": 180, "level": 2, "name": "trading and commercial", "parent_id": 116, "workCount": 444 }, { "archiveItemCount": 0, "id": 116, "level": 1, "name": "work and occupations", "parent_id": 1, "workCount": 5453 } ]	<p><span>Meat Market (1)</span> 1997, and its companion piece <span>Meat Market (2)</span> 1997 (Tate T15057), is a large-scale painting in oil on canvas. Each painting depicts a man handling a piece of meat on a chopping table; in <span>Meat Market (1)</span> the man’s body is positioned on the right side of the canvas, facing the viewer’s left. His right hand is lifted in mid-air while the left one is holding a blood-stained knife. The composition of <span>Meat Market (2)</span> is similar, but the man stands on the left side of the painting, turning slightly to the viewer’s right. His right hand is poised ready to strike the meat with a butcher’s knife, and his left hand is holding a part of the meat. In both works the background colour is almost black, with the figures sketchily picked out against the dark ground by just a few, dynamic white and red lines indicating their faces, torsos and feet.</p>	false	1	https://media.tate.org.u…15/T15056_10.jpg	14153	painting oil paint canvas	[]	Meat Market (1)	1,997	Tate	1997		CLEARED	6	support: 1697 × 1497 mm	accessioned work	Tate	Presented by Qiao Zhibing in honour of Gregor Muir 2017	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Meat Market (1)</i> 1997, and its companion piece <i>Meat Market (2)</i> 1997 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/zhang-meat-market-2-t15057\" title=\"View the details of this artwork\"><span>T15057</span></a>), is a large-scale painting in oil on canvas. Each painting depicts a man handling a piece of meat on a chopping table; in <i>Meat Market (1)</i> the man’s body is positioned on the right side of the canvas, facing the viewer’s left. His right hand is lifted in mid-air while the left one is holding a blood-stained knife. The composition of <i>Meat Market (2)</i> is similar, but the man stands on the left side of the painting, turning slightly to the viewer’s right. His right hand is poised ready to strike the meat with a butcher’s knife, and his left hand is holding a part of the meat. In both works the background colour is almost black, with the figures sketchily picked out against the dark ground by just a few, dynamic white and red lines indicating their faces, torsos and feet.</p>\n<p>The colour palette and expressionistic technique in these paintings are typical of Zhang’s work of the period, when he mostly painted portraits of people in markets, restaurants and streets. After graduating from the Arts & Design Institute of Wuxi Technical University in Jiangsu, China in 1989, he was assigned to teach at Donghua University in Shanghai. Zhang’s experience of everyday life in the new city became the main subject of his paintings, as he has explained:</p>\n<p class=\"cttext\">\n</p><blockquote>At that time, I was living in a small dormitory on the campus, making about 100 RMB [Chinese Yuan; equivalent to about £12 at the time of writing] per month, but having a lot of free time. I had nothing else to do but paint, let alone go out for a drink. The gloominess of depression often surged in my mind. It continued like this for several years. We had no idea about selling artworks and barely had opportunities to do exhibitions overseas at the time. Then, in 1995, a small apartment was allocated to me which was not far from the school. Finally, I had my own home. During this period, I started to cook for myself and go to the local market regularly. My family life began. In 1996, I moved to a bigger apartment. On the opposite side, there was a big market. I went there every afternoon and it became my daily routine. I loved meat, therefore those butchers became the objects for me to observe. Most characters in my paintings were based on the people who sold meat and vegetables. In 1997, I painted two paintings called <i>Meat Market (1) </i>and<i> (2)</i>, and painted more and more later on. I ended up painting several works of those who sold meat, called <i>The Butcher</i>. Afterwards, I named all my works from the ’90s till the early 2000s – <i>The Butcher</i> series. This sense of stress in the image mainly was caused by an unalterable current situation which brought me great anxiety and hopelessness. In the early ’90s, I wrote a sentence: ‘We’re all meat on the chopping board, but every once in a while we play the role of the butcher.’<br/>(Zhang Enli, in email correspondence with Tate curator Sook-Kyung Lee, 4 May 2017.)</blockquote>\n<p>Zhang has since proceeded gradually to working with more restrained colours and minimal compositions in a less expressionistic style (see, for example, <i>Bucket 3, Bucket 5</i> and <i>Bucket 8</i>, all 2007, [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/zhang-bucket-3-t13292\" title=\"View the details of this artwork\"><span>T13292</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/zhang-bucket-8-t13294\" title=\"View the details of this artwork\"><span>T13294</span></a>], but his paintings of the 1990s, such as <i>Meat Market (1) </i>and <i>(2)</i>, were formative for his artistic development. They also resonate with other expressionistic painting by his contemporaries in China, such as Yan Peiming, Zeng Fanzhi and Yang Shaobin. The tendency towards expressionism in the work of these artists could be associated with an increasing desire for individualism during a time of huge economic reform in their native country but, more importantly, it was a means of diverging from the socialist realism that was still the dominant artistic style in China at the time.</p>\n<p>Zhang’s work is informed by both Chinese and western art history, as well as a conceptual approach derived in part from traditional Chinese philosophy. Shanghai’s rapid transformation to a post-industrial metropolis has played an important role in the development of his work, which reflects the tensions inherent in the contrast between the simple life he would have known as a child and the complexity of life in the modern-day urban environment. </p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Zhang Enli: Human, Too Human</i>, exhibition catalogue, ShanghART: Shanghai 2004.<br/>\n<i>Zhang Enli: Human</i>, K11 Art Foundation, Hong Kong 2017.</p>\n<p>Sook-Kyung Lee<br/>May 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-09-05T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[ "actions: postures and motions", "adults", "architecture", "arm / arms raised", "Asian", "butcher", "China", "cities, towns, villages (non-UK)", "countries and continents", "emotions and human qualities", "emotions, concepts and ideas", "ethnicity", "food and drink", "formal qualities", "gestural", "knife", "leisure and pastimes", "man", "market", "meat", "objects", "people", "pessimism", "places", "public and municipal", "recreational activities", "Shanghai", "sitting", "smoking", "tools and machinery", "trader", "trading and commercial", "work and occupations" ]	null	false	92 1050 3111 3901 2998 31 179 286 19508 11100 195 13609 5193 759 24 52 20418 694 2800 86 2567 180	false		artwork
Oil paint on canvas	[ { "append_role_to_name": false, "date": "born 1965", "fc": "Zhang Enli", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/zhang-enli-14153" } ]	120,863	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,997	<a href="https://www.tate.org.uk/art/artists/zhang-enli-14153" aria-label="More by Zhang Enli" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Zhang Enli</a>	Meat Market 2	2,018		[]	Presented by Qiao Zhibing in honour of Gregor Muir 2017	T15057	{ "id": 6, "meta": { "type": "art.Classification" } }			1069269 7002372 1000111 1000004	Zhang Enli	1,997	[ { "archiveItemCount": 1792, "id": 92, "level": 2, "name": "actions: postures and motions", "parent_id": 91, "workCount": 7319 }, { "archiveItemCount": 0, "id": 95, "level": 2, "name": "adults", "parent_id": 91, "workCount": 20120 }, { "archiveItemCount": 1, "id": 13, "level": 1, "name": "architecture", "parent_id": 1, "workCount": 30959 }, { "archiveItemCount": 100, "id": 1050, "level": 3, "name": "arm / arms raised", "parent_id": 92, "workCount": 739 }, { "archiveItemCount": 3, "id": 3111, "level": 3, "name": "Asian", "parent_id": 179, "workCount": 114 }, { "archiveItemCount": 12, "id": 3901, "level": 3, "name": "butcher", "parent_id": 180, "workCount": 14 }, { "archiveItemCount": 22, "id": 2998, "level": 3, "name": "China", "parent_id": 108, "workCount": 16 }, { "archiveItemCount": 2876, "id": 107, "level": 2, "name": "cities, towns, villages (non-UK)", "parent_id": 106, "workCount": 10447 }, { "archiveItemCount": 4059, "id": 108, "level": 2, "name": "countries and continents", "parent_id": 106, "workCount": 13331 }, { "archiveItemCount": 3337, "id": 31, "level": 2, "name": "emotions and human qualities", "parent_id": 29, "workCount": 2008 }, { "archiveItemCount": 5302, "id": 29, "level": 1, "name": "emotions, concepts and ideas", "parent_id": 1, "workCount": 11114 }, { "archiveItemCount": 4241, "id": 179, "level": 2, "name": "ethnicity", "parent_id": 91, "workCount": 632 }, { "archiveItemCount": 351, "id": 286, "level": 2, "name": "food and drink", "parent_id": 78, "workCount": 629 }, { "archiveItemCount": 3599, "id": 6729, "level": 2, "name": "formal qualities", "parent_id": 29, "workCount": 8855 }, { "archiveItemCount": 7, "id": 19508, "level": 3, "name": "gestural", "parent_id": 6729, "workCount": 756 }, { "archiveItemCount": 0, "id": 11100, "level": 3, "name": "knife", "parent_id": 86, "workCount": 6 }, { "archiveItemCount": 1455, "id": 195, "level": 3, "name": "man", "parent_id": 95, "workCount": 8998 }, { "archiveItemCount": 140, "id": 13609, "level": 3, "name": "market", "parent_id": 24, "workCount": 146 }, { "archiveItemCount": 11, "id": 5193, "level": 3, "name": "meat", "parent_id": 286, "workCount": 44 }, { "archiveItemCount": 9924, "id": 78, "level": 1, "name": "objects", "parent_id": 1, "workCount": 13647 }, { "archiveItemCount": 0, "id": 91, "level": 1, "name": "people", "parent_id": 1, "workCount": 22072 }, { "archiveItemCount": 24, "id": 759, "level": 3, "name": "pessimism", "parent_id": 31, "workCount": 21 }, { "archiveItemCount": 0, "id": 106, "level": 1, "name": "places", "parent_id": 1, "workCount": 26467 }, { "archiveItemCount": 1092, "id": 24, "level": 2, "name": "public and municipal", "parent_id": 13, "workCount": 1293 }, { "archiveItemCount": 1, "id": 20418, "level": 3, "name": "Shanghai", "parent_id": 107, "workCount": 3 }, { "archiveItemCount": 363, "id": 86, "level": 2, "name": "tools and machinery", "parent_id": 78, "workCount": 924 }, { "archiveItemCount": 150, "id": 2567, "level": 3, "name": "trader", "parent_id": 180, "workCount": 95 }, { "archiveItemCount": 710, "id": 180, "level": 2, "name": "trading and commercial", "parent_id": 116, "workCount": 444 }, { "archiveItemCount": 0, "id": 116, "level": 1, "name": "work and occupations", "parent_id": 1, "workCount": 5453 } ]	<p><span>Meat Market (2)</span> 1997, and its companion piece <span>Meat Market (1)</span> 1997 (Tate T15056), is a large-scale painting in oil on canvas. Each painting depicts a man handling a piece of meat on a chopping table; in <span>Meat Market (2)</span> the man stands on the left side of the painting, turning slightly to the viewer’s right. His right hand is poised ready to strike the meat with a butcher’s knife, and his left hand is holding a part of the meat. The composition of <span>Meat Market (1)</span> is similar, but the man’s body is positioned on the right side of the canvas, facing the viewer’s left. His right hand is lifted in mid-air while the left one is holding a blood-stained knife. In both works the background colour is almost black, with the figures sketchily picked out against the dark ground by just a few, dynamic white and red lines indicating their faces, torsos and feet.</p>	false	1	https://media.tate.org.u…15/T15057_10.jpg	14153	painting oil paint canvas	[]	Meat Market (2)	1,997	Tate	1997		CLEARED	6	support: 1699 × 1498 mm	accessioned work	Tate	Presented by Qiao Zhibing in honour of Gregor Muir 2017	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Meat Market (2)</i> 1997, and its companion piece <i>Meat Market (1)</i> 1997 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/zhang-meat-market-1-t15056\" title=\"View the details of this artwork\"><span>T15056</span></a>), is a large-scale painting in oil on canvas. Each painting depicts a man handling a piece of meat on a chopping table; in <i>Meat Market (2)</i> the man stands on the left side of the painting, turning slightly to the viewer’s right. His right hand is poised ready to strike the meat with a butcher’s knife, and his left hand is holding a part of the meat. The composition of <i>Meat Market (1)</i> is similar, but the man’s body is positioned on the right side of the canvas, facing the viewer’s left. His right hand is lifted in mid-air while the left one is holding a blood-stained knife. In both works the background colour is almost black, with the figures sketchily picked out against the dark ground by just a few, dynamic white and red lines indicating their faces, torsos and feet. </p>\n<p>The colour palette and expressionistic technique in these paintings are typical of Zhang’s work of the period, when he mostly painted portraits of people in markets, restaurants and streets. After graduating from the Arts & Design Institute of Wuxi Technical University in Jiangsu, China in 1989, he was assigned to teach at Donghua University in Shanghai. Zhang’s experience of everyday life in the new city became the main subject of his paintings, as he has explained:</p>\n<p class=\"cttext\">\n</p><blockquote>At that time, I was living in a small dormitory on the campus, making about 100 RMB [Chinese Yuan; equivalent to about £12 at the time of writing] per month, but having a lot of free time. I had nothing else to do but paint, let alone go out for a drink. The gloominess of depression often surged in my mind. It continued like this for several years. We had no idea about selling artworks and barely had opportunities to do exhibitions overseas at the time. Then, in 1995, a small apartment was allocated to me which was not far from the school. Finally, I had my own home. During this period, I started to cook for myself and go to the local market regularly. My family life began. In 1996, I moved to a bigger apartment. On the opposite side, there was a big market. I went there every afternoon and it became my daily routine. I loved meat, therefore those butchers became the objects for me to observe. Most characters in my paintings were based on the people who sold meat and vegetables. In 1997, I painted two paintings called <i>Meat Market (1) </i>and<i> (2)</i>, and painted more and more later on. I ended up painting several works of those who sold meat, called <i>The Butcher</i>. Afterwards, I named all my works from the ’90s till the early 2000s – <i>The Butcher</i> series. This sense of stress in the image mainly was caused by an unalterable current situation which brought me great anxiety and hopelessness. In the early ’90s, I wrote a sentence: ‘We’re all meat on the chopping board, but every once in a while we play the role of the butcher.’<br/>(Zhang Enli, in email correspondence with Tate curator Sook-Kyung Lee, 4 May 2017.)</blockquote>\n<p>Zhang has since proceeded gradually to working with more restrained colours and minimal compositions in a less expressionistic style (see, for example, <i>Bucket 3, Bucket 5</i> and <i>Bucket 8</i>, all 2007, [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/zhang-bucket-3-t13292\" title=\"View the details of this artwork\"><span>T13292</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/zhang-bucket-8-t13294\" title=\"View the details of this artwork\"><span>T13294</span></a>], but his paintings of the 1990s, such as <i>Meat Market (1) </i>and <i>(2)</i>, were formative for his artistic development. They also resonate with other expressionistic painting by his contemporaries in China, such as Yan Peiming, Zeng Fanzhi and Yang Shaobin. The tendency towards expressionism in the work of these artists could be associated with an increasing desire for individualism during a time of huge economic reform in their native country but, more importantly, it was a means of diverging from the socialist realism that was still the dominant artistic style in China at the time.</p>\n<p>Zhang’s work is informed by both Chinese and western art history, as well as a conceptual approach derived in part from traditional Chinese philosophy. Shanghai’s rapid transformation to a post-industrial metropolis has played an important role in the development of his work, which reflects the tensions inherent in the contrast between the simple life he would have known as a child and the complexity of life in the modern-day urban environment.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Zhang Enli: Human, Too Human</i>, exhibition catalogue, ShanghART: Shanghai 2004.<br/>\n<i>Zhang Enli: Human</i>, K11 Art Foundation, Hong Kong 2017.</p>\n<p>Sook-Kyung Lee<br/>May 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-09-05T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[ "actions: postures and motions", "adults", "architecture", "arm / arms raised", "Asian", "butcher", "China", "cities, towns, villages (non-UK)", "countries and continents", "emotions and human qualities", "emotions, concepts and ideas", "ethnicity", "food and drink", "formal qualities", "gestural", "knife", "man", "market", "meat", "objects", "people", "pessimism", "places", "public and municipal", "Shanghai", "tools and machinery", "trader", "trading and commercial", "work and occupations" ]	null	false	92 1050 3111 3901 2998 31 179 286 19508 11100 195 13609 5193 759 24 20418 86 2567 180	false		artwork
Bronze, copper and textile	[ { "append_role_to_name": false, "date": "born 1986", "fc": "Evgeny Antufiev", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/evgeny-antufiev-26536" } ]	120,864	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	2,015	<a href="https://www.tate.org.uk/art/artists/evgeny-antufiev-26536" aria-label="More by Evgeny Antufiev" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Evgeny Antufiev</a>		2,018		[]	Presented by the artist 2017	T15058	{ "id": 8, "meta": { "type": "art.Classification" } }			1056214 7014829 7002435 1000004	Evgeny Antufiev	2,015	[]	<p><span>Untitled</span> 2015 is a knife that has been cast in bronze, with its pommel shaped in the form of a sharp-toothed animal’s head with its mouth open. It has an ancient and ritualistic appearance and is a recurring element within Evgeny Antufiev’s practice and his personal mythology. It is part of a group of sculptures and objects by the artist in Tate’s collection that collectively reflect the breadth of his process-driven practice, in which he treats materials as symbolically charged and insists on accumulating bodies of knowledge that relate to the practices of carving wood, embroidery, casting metal and sculpting ceramic, in order to be able to craft all his pieces himself, without the support of assistants. The other works in the group are: <span>Untitled</span> 2015, a mask that brings together found materials into an object that obliquely evokes the forms of Siberian shamans’ masks (Tate T14935); <span>Untitled </span>2015, a large carved wooden sculpture that depicts a figure sitting on a tree stump, its face fixed in an ambiguous expression with its mouth open (Tate T15062); <span>Untitled </span>2015, a crowned head made of textile, bronze and amber that harnesses the symbolic potency that amber carries for the artist as a material that is fifty million years old and has ‘lived’ through momentous historic events (Tate T15061); <span>Untitled </span>2015, a brass chalice with three faces that look back at the viewer (Tate T15059); and <span>Untitled</span> 2015, a ceramic figure that has the appearance of an eroded old stone sculpture (Tate T15060). The works were first shown together as elements within Antufiev’s solo exhibition-installation <span>Seven Underground Kings or the Brief History of the Shadow</span> in 2015 at Regina Gallery in Moscow, as part of the parallel programme of the 6th Moscow Biennale of Contemporary Art.</p>	false	1	https://media.tate.org.u…15/T15058_10.jpg	26536	sculpture bronze copper textile	[]	Untitled	2,015	Tate	2015		CLEARED	8	object: 430 × 80 × 45 mm	accessioned work	Tate	Presented by the artist 2017	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Untitled</i> 2015 is a knife that has been cast in bronze, with its pommel shaped in the form of a sharp-toothed animal’s head with its mouth open. It has an ancient and ritualistic appearance and is a recurring element within Evgeny Antufiev’s practice and his personal mythology. It is part of a group of sculptures and objects by the artist in Tate’s collection that collectively reflect the breadth of his process-driven practice, in which he treats materials as symbolically charged and insists on accumulating bodies of knowledge that relate to the practices of carving wood, embroidery, casting metal and sculpting ceramic, in order to be able to craft all his pieces himself, without the support of assistants. The other works in the group are: <i>Untitled</i> 2015, a mask that brings together found materials into an object that obliquely evokes the forms of Siberian shamans’ masks (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/antufiev-untitled-t14935\" title=\"View the details of this artwork\"><span>T14935</span></a>); <i>Untitled </i>2015, a large carved wooden sculpture that depicts a figure sitting on a tree stump, its face fixed in an ambiguous expression with its mouth open (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/antufiev-untitled-t15062\" title=\"View the details of this artwork\"><span>T15062</span></a>); <i>Untitled </i>2015, a crowned head made of textile, bronze and amber that harnesses the symbolic potency that amber carries for the artist as a material that is fifty million years old and has ‘lived’ through momentous historic events (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/antufiev-untitled-t15061\" title=\"View the details of this artwork\"><span>T15061</span></a>); <i>Untitled </i>2015, a brass chalice with three faces that look back at the viewer (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/antufiev-untitled-t15059\" title=\"View the details of this artwork\"><span>T15059</span></a>); and <i>Untitled</i> 2015, a ceramic figure that has the appearance of an eroded old stone sculpture (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/antufiev-untitled-t15060\" title=\"View the details of this artwork\"><span>T15060</span></a>). The works were first shown together as elements within Antufiev’s solo exhibition-installation <i>Seven Underground Kings or the Brief History of the Shadow</i> in 2015 at Regina Gallery in Moscow, as part of the parallel programme of the 6th Moscow Biennale of Contemporary Art.</p>\n<p>Antufiev is known for exploring the construction of myths and using symbolically charged materials that, through his own particular juxtapositions, are transformed into elements within his own idiosyncratic world order. His immersive installations consist of archetypes within the language of myths: heroes, weapons, beasts, chalices, disguises, which together combine into a narrative structure. The critic Valentin Diaconov described Antufiev as a ‘member of the class of artist-collectors’ (Valentin Diaconov in <i>Evgeny Antufiev</i> 2013, p.11) who, by arranging material in an individual order through a highly individualised logic, creates emotionally and symbolically charged environments. The artist frequently references forms found in his native Siberia.</p>\n<p>The tension between the art object and the object of ritual evoked by the individual forms of Antufiev’s sculptures and meticulous display methods characterises much of his practice. Commenting on the first exhibition of these works, Antufiev stated that ‘this is an exhibition about form, and what is more, it is about a flickering, unclear form’ (Evgeny Antufiev in conversation with Anatoly Osmolovsky, 15 September 2015, <a href=\"http://syg.ma/@furqat/miezhdu-ritualom-i-iskusstvom-anatolii-osmolovskii-i-ievghienii-antufiev-o-rabotie-s-matierialom\">http://syg.ma/@furqat/miezhdu-ritualom-i-iskusstvom-anatolii-osmolovskii-i-ievghienii-antufiev-o-rabotie-s-matierialom</a>, translated by Dina Akhmadeeva, accessed 22 May 2017). Antufiev’s decision to leave his works untitled is a deliberate addition to this ambiguity. The objects frequently move between these two roles as the works take on new ritual functions when they are co-opted into the artist’s performances. In his own invented absurdist game of bingo, <i>Dead Nation: Bingo Version</i> at the Whitechapel Gallery, London in 2016, Antufiev used his works as props, as well as offering them as gifts to audience members in return for performing certain actions.</p>\n<p>Likewise, central to the artist’s practice is the deliberate ambiguity of his works’ temporal origins. Antufiev’s choice of forms and materials convincingly take on the guise of the archaic in an attempt to disturb a linear chronology. The artist has explained, ‘I like it when an exhibition turns into an archaeological object, when you look and try to understand what these objects are for. You try to decipher the symbols. You take on the role of an archaeologist.’ (Ibid.) Antufiev works with materials that carry a long history and a symbolic weight – wood, ceramics, bronze, brass, textiles, amber – and the labour-intensive nature of his practice is evident in his works. In this engagement with materials, craft, folklore and myth, Antufiev has established himself since 2009 as one of the leading artists of a generation of contemporary Russian practitioners that has returned to tradition through the lens of conceptualism. Curator Katya Inozemtseva has noted, ‘Antufiev makes complex narrative structures, testing the very idea of the catalogue, the museum and museum forms of representation, memory, and history and, in the process, changing our attitudes to the collective and individual past.’ (Inozemtseva, in Garage Museum of Contemporary Art 2017, p.86.)</p>\n<p>The group of objects in Tate’s collection recreates on a smaller scale the narrative structure of Antufiev’s sprawling installations, which rely on connections made between elements. The works can also be displayed separately.</p>\n<p>\n<b>Further reading</b>\n<br/>Evgeny Antufiev, <i>Evgeny Antufiev</i>, Milan 2013.<br/>Katya Inozemtseva, ‘Evgeny Antufiev’, in Ruth Addison, Alexander Izvekov, Nikolai Molok<b> </b>(eds.),<b> </b><i>Garage Triennial of Russian Contemporary Art</i>, exhibition catalogue, Garage Museum of Contemporary Art, Moscow 2017, pp.86–7.</p>\n<p>Dina Akhmadeeva<br/>May 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-09-05T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Brass	[ { "append_role_to_name": false, "date": "born 1986", "fc": "Evgeny Antufiev", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/evgeny-antufiev-26536" } ]	120,867	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	2,015	<a href="https://www.tate.org.uk/art/artists/evgeny-antufiev-26536" aria-label="More by Evgeny Antufiev" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Evgeny Antufiev</a>		2,018		[]	Presented by the artist 2017	T15059	{ "id": 8, "meta": { "type": "art.Classification" } }			1056214 7014829 7002435 1000004	Evgeny Antufiev	2,015	[]	<p><span>Untitled</span> 2015 is a brass chalice whose warped and irregular form reveals three faces that look back at the viewer. It is part of a group of sculptures and objects by Evgeny Antufiev in Tate’s collection that collectively reflect the breadth of his process-driven practice, in which he treats materials as symbolically charged and insists on accumulating bodies of knowledge that relate to the practices of carving wood, embroidery, casting metal and sculpting ceramic, in order to be able to craft all his pieces himself, without the support of assistants. The other works in the group are: <span>Untitled</span> 2015, a mask that brings together found materials into an object that obliquely evokes the forms of Siberian shamans’ masks (Tate T14935); <span>Untitled</span> 2015, a large carved wooden sculpture that depicts a figure sitting on a tree stump, its face fixed in an ambiguous expression with its mouth open (Tate T15062); <span>Untitled </span>2015, a crowned head made of textile, bronze and amber that harnesses the symbolic potency that amber carries for the artist as a material that is fifty million years old and has ‘lived’ through momentous historic events (Tate T15061); <span>Untitled</span> 2015, a knife cast in bronze, with its pommel in the form of a sharp-toothed animal’s head with its mouth open (Tate T15058); and <span>Untitled</span> 2015, a ceramic figure that has the appearance of an eroded old stone sculpture (Tate T15060). The works were first shown together as elements within Antufiev’s solo exhibition-installation <span>Seven Underground Kings or the Brief History of the Shadow</span> in 2015 at Regina Gallery in Moscow, as part of the parallel programme of the 6th Moscow Biennale of Contemporary Art.</p>	false	1	https://media.tate.org.u…15/T15059_10.jpg	26536	sculpture brass	[]	Untitled	2,015	Tate	2015		CLEARED	8	object: 160 × 130 × 165 mm	accessioned work	Tate	Presented by the artist 2017	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Untitled</i> 2015 is a brass chalice whose warped and irregular form reveals three faces that look back at the viewer. It is part of a group of sculptures and objects by Evgeny Antufiev in Tate’s collection that collectively reflect the breadth of his process-driven practice, in which he treats materials as symbolically charged and insists on accumulating bodies of knowledge that relate to the practices of carving wood, embroidery, casting metal and sculpting ceramic, in order to be able to craft all his pieces himself, without the support of assistants. The other works in the group are: <i>Untitled</i> 2015, a mask that brings together found materials into an object that obliquely evokes the forms of Siberian shamans’ masks (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/antufiev-untitled-t14935\" title=\"View the details of this artwork\"><span>T14935</span></a>); <i>Untitled</i> 2015, a large carved wooden sculpture that depicts a figure sitting on a tree stump, its face fixed in an ambiguous expression with its mouth open (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/antufiev-untitled-t15062\" title=\"View the details of this artwork\"><span>T15062</span></a>); <i>Untitled </i>2015, a crowned head made of textile, bronze and amber that harnesses the symbolic potency that amber carries for the artist as a material that is fifty million years old and has ‘lived’ through momentous historic events (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/antufiev-untitled-t15061\" title=\"View the details of this artwork\"><span>T15061</span></a>); <i>Untitled</i> 2015, a knife cast in bronze, with its pommel in the form of a sharp-toothed animal’s head with its mouth open (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/antufiev-untitled-t15058\" title=\"View the details of this artwork\"><span>T15058</span></a>); and <i>Untitled</i> 2015, a ceramic figure that has the appearance of an eroded old stone sculpture (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/antufiev-untitled-t15060\" title=\"View the details of this artwork\"><span>T15060</span></a>). The works were first shown together as elements within Antufiev’s solo exhibition-installation <i>Seven Underground Kings or the Brief History of the Shadow</i> in 2015 at Regina Gallery in Moscow, as part of the parallel programme of the 6th Moscow Biennale of Contemporary Art.</p>\n<p>Antufiev is known for exploring the construction of myths and using symbolically charged materials that, through his own particular juxtapositions, are transformed into elements within his own idiosyncratic world order. His immersive installations consist of archetypes within the language of myths: heroes, weapons, beasts, chalices, disguises, which together combine into a narrative structure. The critic Valentin Diaconov described Antufiev as a ‘member of the class of artist-collectors’ (Valentin Diaconov in <i>Evgeny Antufiev</i> 2013, p.11) who, by arranging material in an individual order through a highly individualised logic, creates emotionally and symbolically charged environments. The artist frequently references forms found in his native Siberia.</p>\n<p>The tension between the art object and the object of ritual evoked by the individual forms of Antufiev’s sculptures and meticulous display methods characterises much of his practice. Commenting on the first exhibition of these works, Antufiev stated that ‘this is an exhibition about form, and what is more, it is about a flickering, unclear form’ (Evgeny Antufiev in conversation with Anatoly Osmolovsky, 15 September 2015, <a href=\"http://syg.ma/@furqat/miezhdu-ritualom-i-iskusstvom-anatolii-osmolovskii-i-ievghienii-antufiev-o-rabotie-s-matierialom\">http://syg.ma/@furqat/miezhdu-ritualom-i-iskusstvom-anatolii-osmolovskii-i-ievghienii-antufiev-o-rabotie-s-matierialom</a>, translated by Dina Akhmadeeva, accessed 22 May 2017). Antufiev’s decision to leave his works untitled is a deliberate addition to this ambiguity. The objects frequently move between these two roles as the works take on new ritual functions when they are co-opted into the artist’s performances. In his own invented absurdist game of bingo, <i>Dead Nation: Bingo Version</i> at the Whitechapel Gallery, London in 2016, Antufiev used his works as props, as well as offering them as gifts to audience members in return for performing certain actions.</p>\n<p>Likewise, central to the artist’s practice is the deliberate ambiguity of his works’ temporal origins. Antufiev’s choice of forms and materials convincingly take on the guise of the archaic in an attempt to disturb a linear chronology. The artist has explained, ‘I like it when an exhibition turns into an archaeological object, when you look and try to understand what these objects are for. You try to decipher the symbols. You take on the role of an archaeologist.’ (Ibid.) Antufiev works with materials that carry a long history and a symbolic weight – wood, ceramics, bronze, brass, textiles, amber – and the labour-intensive nature of his practice is evident in his works. In this engagement with materials, craft, folklore and myth, Antufiev has established himself since 2009 as one of the leading artists of a generation of contemporary Russian practitioners that has returned to tradition through the lens of conceptualism. Curator Katya Inozemtseva has noted, ‘Antufiev makes complex narrative structures, testing the very idea of the catalogue, the museum and museum forms of representation, memory, and history and, in the process, changing our attitudes to the collective and individual past.’ (Inozemtseva, in Garage Museum of Contemporary Art 2017, p.86.)</p>\n<p>The group of objects in Tate’s collection recreates on a smaller scale the narrative structure of Antufiev’s sprawling installations, which rely on connections made between elements. The works can also be displayed separately.</p>\n<p>\n<b>Further reading</b>\n<br/>Evgeny Antufiev, <i>Evgeny Antufiev</i>, Milan 2013.<br/>Katya Inozemtseva, ‘Evgeny Antufiev’, in Ruth Addison, Alexander Izvekov, Nikolai Molok<b> </b>(eds.),<b> </b><i>Garage Triennial of Russian Contemporary Art</i>, exhibition catalogue, Garage Museum of Contemporary Art, Moscow 2017, pp.86–7.</p>\n<p>Dina Akhmadeeva<br/>May 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-09-05T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Ceramic	[ { "append_role_to_name": false, "date": "born 1986", "fc": "Evgeny Antufiev", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/evgeny-antufiev-26536" } ]	120,869	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	2,015	<a href="https://www.tate.org.uk/art/artists/evgeny-antufiev-26536" aria-label="More by Evgeny Antufiev" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Evgeny Antufiev</a>		2,018		[]	Presented by the artist 2017	T15060	{ "id": 8, "meta": { "type": "art.Classification" } }			1056214 7014829 7002435 1000004	Evgeny Antufiev	2,015	[]	<p>The ceramic figure <span>Untitled</span> 2015, in part cream-coloured, in part brown, has the appearance of an eroded old stone sculpture, the features of the figure’s face being completely erased, with only the suggestion of arms and of a small animal seated beside the figure remaining. It is part of a group of sculptures and objects by Evgeny Antufiev in Tate’s collection that collectively reflect the breadth of his process-driven practice, in which he treats materials as symbolically charged and insists on accumulating bodies of knowledge that relate to the practices of carving wood, embroidery, casting metal and sculpting ceramic, in order to be able to craft all his pieces himself, without the support of assistants. The other works in the group are: <span>Untitled</span> 2015, a mask that brings together found materials into an object that obliquely evokes the forms of Siberian shamans’ masks (Tate T14935); <span>Untitled</span> 2015, a large carved wooden sculpture that depicts a figure sitting on a tree stump, its face fixed in an ambiguous expression with its mouth open (Tate T15062); <span>Untitled </span>2015, a crowned head made of textile, bronze and amber that harnesses the symbolic potency that amber carries for the artist as a material that is fifty million years old and has ‘lived’ through momentous historic events (Tate T15061); <span>Untitled</span> 2015, a knife cast in bronze, with its pommel in the form of a sharp-toothed animal’s head with its mouth open (Tate T15058); and <span>Untitled </span>2015, a brass chalice with three faces that look back at the viewer (Tate T15059). The works were first shown together as elements within Antufiev’s solo exhibition-installation <span>Seven Underground Kings or the Brief History of the Shadow</span> in 2015 at Regina Gallery in Moscow, as part of the parallel programme of the 6th Moscow Biennale of Contemporary Art.</p>	false	1	https://media.tate.org.u…15/T15060_10.jpg	26536	sculpture ceramic	[]	Untitled	2,015	Tate	2015		CLEARED	8	object: 275 × 130 × 110 mm	accessioned work	Tate	Presented by the artist 2017	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>The ceramic figure <i>Untitled</i> 2015, in part cream-coloured, in part brown, has the appearance of an eroded old stone sculpture, the features of the figure’s face being completely erased, with only the suggestion of arms and of a small animal seated beside the figure remaining. It is part of a group of sculptures and objects by Evgeny Antufiev in Tate’s collection that collectively reflect the breadth of his process-driven practice, in which he treats materials as symbolically charged and insists on accumulating bodies of knowledge that relate to the practices of carving wood, embroidery, casting metal and sculpting ceramic, in order to be able to craft all his pieces himself, without the support of assistants. The other works in the group are: <i>Untitled</i> 2015, a mask that brings together found materials into an object that obliquely evokes the forms of Siberian shamans’ masks (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/antufiev-untitled-t14935\" title=\"View the details of this artwork\"><span>T14935</span></a>); <i>Untitled</i> 2015, a large carved wooden sculpture that depicts a figure sitting on a tree stump, its face fixed in an ambiguous expression with its mouth open (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/antufiev-untitled-t15062\" title=\"View the details of this artwork\"><span>T15062</span></a>); <i>Untitled </i>2015, a crowned head made of textile, bronze and amber that harnesses the symbolic potency that amber carries for the artist as a material that is fifty million years old and has ‘lived’ through momentous historic events (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/antufiev-untitled-t15061\" title=\"View the details of this artwork\"><span>T15061</span></a>); <i>Untitled</i> 2015, a knife cast in bronze, with its pommel in the form of a sharp-toothed animal’s head with its mouth open (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/antufiev-untitled-t15058\" title=\"View the details of this artwork\"><span>T15058</span></a>); and <i>Untitled </i>2015, a brass chalice with three faces that look back at the viewer (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/antufiev-untitled-t15059\" title=\"View the details of this artwork\"><span>T15059</span></a>). The works were first shown together as elements within Antufiev’s solo exhibition-installation <i>Seven Underground Kings or the Brief History of the Shadow</i> in 2015 at Regina Gallery in Moscow, as part of the parallel programme of the 6th Moscow Biennale of Contemporary Art.</p>\n<p>Antufiev is known for exploring the construction of myths and using symbolically charged materials that, through his own particular juxtapositions, are transformed into elements within his own idiosyncratic world order. His immersive installations consist of archetypes within the language of myths: heroes, weapons, beasts, chalices, disguises, which together combine into a narrative structure. The critic Valentin Diaconov described Antufiev as a ‘member of the class of artist-collectors’ (Valentin Diaconov in <i>Evgeny Antufiev</i> 2013, p.11) who, by arranging material in an individual order through a highly individualised logic, creates emotionally and symbolically charged environments. The artist frequently references forms found in his native Siberia.</p>\n<p>The tension between the art object and the object of ritual evoked by the individual forms of Antufiev’s sculptures and meticulous display methods characterises much of his practice. Commenting on the first exhibition of these works, Antufiev stated that ‘this is an exhibition about form, and what is more, it is about a flickering, unclear form’ (Evgeny Antufiev in conversation with Anatoly Osmolovsky, 15 September 2015, <a href=\"http://syg.ma/@furqat/miezhdu-ritualom-i-iskusstvom-anatolii-osmolovskii-i-ievghienii-antufiev-o-rabotie-s-matierialom\">http://syg.ma/@furqat/miezhdu-ritualom-i-iskusstvom-anatolii-osmolovskii-i-ievghienii-antufiev-o-rabotie-s-matierialom</a>, translated by Dina Akhmadeeva, accessed 22 May 2017). Antufiev’s decision to leave his works untitled is a deliberate addition to this ambiguity. The objects frequently move between these two roles as the works take on new ritual functions when they are co-opted into the artist’s performances. In his own invented absurdist game of bingo, <i>Dead Nation: Bingo Version</i> at the Whitechapel Gallery, London in 2016, Antufiev used his works as props, as well as offering them as gifts to audience members in return for performing certain actions.</p>\n<p>Likewise, central to the artist’s practice is the deliberate ambiguity of his works’ temporal origins. Antufiev’s choice of forms and materials convincingly take on the guise of the archaic in an attempt to disturb a linear chronology. The artist has explained, ‘I like it when an exhibition turns into an archaeological object, when you look and try to understand what these objects are for. You try to decipher the symbols. You take on the role of an archaeologist.’ (Ibid.) Antufiev works with materials that carry a long history and a symbolic weight – wood, ceramics, bronze, brass, textiles, amber – and the labour-intensive nature of his practice is evident in his works. In this engagement with materials, craft, folklore and myth, Antufiev has established himself since 2009 as one of the leading artists of a generation of contemporary Russian practitioners that has returned to tradition through the lens of conceptualism. Curator Katya Inozemtseva has noted, ‘Antufiev makes complex narrative structures, testing the very idea of the catalogue, the museum and museum forms of representation, memory, and history and, in the process, changing our attitudes to the collective and individual past.’ (Inozemtseva, in Garage Museum of Contemporary Art 2017, p.86.)</p>\n<p>The group of objects in Tate’s collection recreates on a smaller scale the narrative structure of Antufiev’s sprawling installations, which rely on connections made between elements. The works can also be displayed separately.</p>\n<p>\n<b>Further reading</b>\n<br/>Evgeny Antufiev, <i>Evgeny Antufiev</i>, Milan 2013.<br/>Katya Inozemtseva, ‘Evgeny Antufiev’, in Ruth Addison, Alexander Izvekov, Nikolai Molok<b> </b>(eds.),<b> </b><i>Garage Triennial of Russian Contemporary Art</i>, exhibition catalogue, Garage Museum of Contemporary Art, Moscow 2017, pp.86–7.</p>\n<p>Dina Akhmadeeva<br/>May 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-09-05T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Textile, bronze and amber	[ { "append_role_to_name": false, "date": "born 1986", "fc": "Evgeny Antufiev", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/evgeny-antufiev-26536" } ]	120,874	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	2,015	<a href="https://www.tate.org.uk/art/artists/evgeny-antufiev-26536" aria-label="More by Evgeny Antufiev" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Evgeny Antufiev</a>		2,018		[]	Presented by the artist 2017	T15061	{ "id": 8, "meta": { "type": "art.Classification" } }			1056214 7014829 7002435 1000004	Evgeny Antufiev	2,015	[]	<p><span>Untitled </span>2015 is a sculpture made of textile, bronze and amber that depicts a crowned head. The crown is a composite of cast bronze and amber, while the head itself is roughly stitched together from pieces of fabric with no facial detail. The object harnesses the symbolic potency that amber carries for the artist as a material that is fifty million years old and has ‘lived’ through momentous historic events like the fall of Babylon. It is part of a group of sculptures and objects by Evgeny Antufiev in Tate’s collection that collectively reflect the breadth of his process-driven practice, in which he treats materials as symbolically charged and insists on accumulating bodies of knowledge that relate to the practices of carving wood, embroidery, casting metal and sculpting ceramic, in order to be able to craft all his pieces himself, without the support of assistants. The other works in the group are: <span>Untitled</span> 2015, a mask that brings together found materials into an object that obliquely evokes the forms of Siberian shamans’ masks (Tate T14935); <span>Untitled</span> 2015, a large carved wooden sculpture that depicts a figure sitting on a tree stump, its face fixed in an ambiguous expression with its mouth open (Tate T15062); <span>Untitled</span> 2015, a knife cast in bronze, with its pommel in the form of a sharp-toothed animal’s head with its mouth open (Tate T15058); <span>Untitled </span>2015, a brass chalice with three faces that look back at the viewer (Tate T15059); and <span>Untitled</span> 2015, a ceramic figure that has the appearance of an eroded old stone sculpture (Tate T15060). The works were first shown together as elements within Antufiev’s solo exhibition-installation <span>Seven Underground Kings or the Brief History of the Shadow</span> in 2015 at Regina Gallery in Moscow, as part of the parallel programme of the 6th Moscow Biennale of Contemporary Art.</p>	false	1	https://media.tate.org.u…15/T15061_10.jpg	26536	sculpture textile bronze amber	[]	Untitled	2,015	Tate	2015		CLEARED	8	object: 330 × 210 × 220 mm	accessioned work	Tate	Presented by the artist 2017	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Untitled </i>2015 is a sculpture made of textile, bronze and amber that depicts a crowned head. The crown is a composite of cast bronze and amber, while the head itself is roughly stitched together from pieces of fabric with no facial detail. The object harnesses the symbolic potency that amber carries for the artist as a material that is fifty million years old and has ‘lived’ through momentous historic events like the fall of Babylon. It is part of a group of sculptures and objects by Evgeny Antufiev in Tate’s collection that collectively reflect the breadth of his process-driven practice, in which he treats materials as symbolically charged and insists on accumulating bodies of knowledge that relate to the practices of carving wood, embroidery, casting metal and sculpting ceramic, in order to be able to craft all his pieces himself, without the support of assistants. The other works in the group are: <i>Untitled</i> 2015, a mask that brings together found materials into an object that obliquely evokes the forms of Siberian shamans’ masks (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/antufiev-untitled-t14935\" title=\"View the details of this artwork\"><span>T14935</span></a>); <i>Untitled</i> 2015, a large carved wooden sculpture that depicts a figure sitting on a tree stump, its face fixed in an ambiguous expression with its mouth open (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/antufiev-untitled-t15062\" title=\"View the details of this artwork\"><span>T15062</span></a>); <i>Untitled</i> 2015, a knife cast in bronze, with its pommel in the form of a sharp-toothed animal’s head with its mouth open (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/antufiev-untitled-t15058\" title=\"View the details of this artwork\"><span>T15058</span></a>); <i>Untitled </i>2015, a brass chalice with three faces that look back at the viewer (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/antufiev-untitled-t15059\" title=\"View the details of this artwork\"><span>T15059</span></a>); and <i>Untitled</i> 2015, a ceramic figure that has the appearance of an eroded old stone sculpture (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/antufiev-untitled-t15060\" title=\"View the details of this artwork\"><span>T15060</span></a>). The works were first shown together as elements within Antufiev’s solo exhibition-installation <i>Seven Underground Kings or the Brief History of the Shadow</i> in 2015 at Regina Gallery in Moscow, as part of the parallel programme of the 6th Moscow Biennale of Contemporary Art.</p>\n<p>Antufiev is known for exploring the construction of myths and using symbolically charged materials that, through his own particular juxtapositions, are transformed into elements within his own idiosyncratic world order. His immersive installations consist of archetypes within the language of myths: heroes, weapons, beasts, chalices, disguises, which together combine into a narrative structure. The critic Valentin Diaconov described Antufiev as a ‘member of the class of artist-collectors’ (Valentin Diaconov in <i>Evgeny Antufiev</i> 2013, p.11) who, by arranging material in an individual order through a highly individualised logic, creates emotionally and symbolically charged environments. The artist frequently references forms found in his native Siberia.</p>\n<p>The tension between the art object and the object of ritual evoked by the individual forms of Antufiev’s sculptures and meticulous display methods characterises much of his practice. Commenting on the first exhibition of these works, Antufiev stated that ‘this is an exhibition about form, and what is more, it is about a flickering, unclear form’ (Evgeny Antufiev in conversation with Anatoly Osmolovsky, 15 September 2015, <a href=\"http://syg.ma/@furqat/miezhdu-ritualom-i-iskusstvom-anatolii-osmolovskii-i-ievghienii-antufiev-o-rabotie-s-matierialom\">http://syg.ma/@furqat/miezhdu-ritualom-i-iskusstvom-anatolii-osmolovskii-i-ievghienii-antufiev-o-rabotie-s-matierialom</a>, translated by Dina Akhmadeeva, accessed 22 May 2017). Antufiev’s decision to leave his works untitled is a deliberate addition to this ambiguity. The objects frequently move between these two roles as the works take on new ritual functions when they are co-opted into the artist’s performances. In his own invented absurdist game of bingo, <i>Dead Nation: Bingo Version</i> at the Whitechapel Gallery, London in 2016, Antufiev used his works as props, as well as offering them as gifts to audience members in return for performing certain actions.</p>\n<p>Likewise, central to the artist’s practice is the deliberate ambiguity of his works’ temporal origins. Antufiev’s choice of forms and materials convincingly take on the guise of the archaic in an attempt to disturb a linear chronology. The artist has explained, ‘I like it when an exhibition turns into an archaeological object, when you look and try to understand what these objects are for. You try to decipher the symbols. You take on the role of an archaeologist.’ (Ibid.) Antufiev works with materials that carry a long history and a symbolic weight – wood, ceramics, bronze, brass, textiles, amber – and the labour-intensive nature of his practice is evident in his works. In this engagement with materials, craft, folklore and myth, Antufiev has established himself since 2009 as one of the leading artists of a generation of contemporary Russian practitioners that has returned to tradition through the lens of conceptualism. Curator Katya Inozemtseva has noted, ‘Antufiev makes complex narrative structures, testing the very idea of the catalogue, the museum and museum forms of representation, memory, and history and, in the process, changing our attitudes to the collective and individual past.’ (Inozemtseva, in Garage Museum of Contemporary Art 2017, p.86.)</p>\n<p>The group of objects in Tate’s collection recreates on a smaller scale the narrative structure of Antufiev’s sprawling installations, which rely on connections made between elements. The works can also be displayed separately.</p>\n<p>\n<b>Further reading</b>\n<br/>Evgeny Antufiev, <i>Evgeny Antufiev</i>, Milan 2013.<br/>Katya Inozemtseva, ‘Evgeny Antufiev’, in Ruth Addison, Alexander Izvekov, Nikolai Molok<b> </b>(eds.),<b> </b><i>Garage Triennial of Russian Contemporary Art</i>, exhibition catalogue, Garage Museum of Contemporary Art, Moscow 2017, pp.86–7.</p>\n<p>Dina Akhmadeeva<br/>May 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-09-05T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Poplar, paint, ink and glitter	[ { "append_role_to_name": false, "date": "born 1986", "fc": "Evgeny Antufiev", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/evgeny-antufiev-26536" } ]	120,883	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	2,015	<a href="https://www.tate.org.uk/art/artists/evgeny-antufiev-26536" aria-label="More by Evgeny Antufiev" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Evgeny Antufiev</a>		2,018		[]	Purchased with funds provided by the Acquisitions Fund for Russian Art, supported by V-A-C Foundation 2018	T15062	{ "id": 8, "meta": { "type": "art.Classification" } }			1056214 7014829 7002435 1000004	Evgeny Antufiev	2,015	[]	<p>The large carved wooden sculpture <span>Untitled</span> 2015 depicts a bear-like figure sitting on a tree stump, its face fixed in an ambiguous expression with its mouth open. It playfully resonates both with ancient Kurgan anthropomorphic stelae (standing stones carved in the appearance of human forms) and also with the carved wooden forms frequently found in children’s playgrounds in the artist’s native Russia. It is part of a group of sculptures and objects by Evgeny Antufiev in Tate’s collection that collectively reflect the breadth of his process-driven practice, in which he treats materials as symbolically charged and insists on accumulating bodies of knowledge that relate to the practices of carving wood, embroidery, casting metal and sculpting ceramic, in order to be able to craft all his pieces himself, without the support of assistants. The other works in the group are: <span>Untitled</span> 2015, a mask that brings together found materials into an object that obliquely evokes the forms of Siberian shamans’ masks (Tate T14935); <span>Untitled </span>2015, a crowned head made of textile, bronze and amber that harnesses the symbolic potency that amber carries for the artist as a material that is fifty million years old and has ‘lived’ through momentous historic events (Tate T15061); <span>Untitled</span> 2015, a knife cast in bronze, with its pommel in the form of a sharp-toothed animal’s head with its mouth open (Tate T15058); <span>Untitled </span>2015, a brass chalice with three faces that look back at the viewer (Tate T15059); and <span>Untitled</span> 2015, a ceramic figure that has the appearance of an eroded old stone sculpture (Tate T15060). The works were first shown together as elements within Antufiev’s solo exhibition-installation <span>Seven Underground Kings or the Brief History of the Shadow</span> in 2015 at Regina Gallery in Moscow, as part of the parallel programme of the 6th Moscow Biennale of Contemporary Art.</p>	false	1	https://media.tate.org.u…15/T15062_10.jpg	26536	sculpture poplar paint ink glitter	[]	Untitled	2,015	Tate	2015		CLEARED	8	object: 1260 × 500 × 560 mm	accessioned work	Tate	Purchased with funds provided by the Acquisitions Fund for Russian Art, supported by V-A-C Foundation 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>The large carved wooden sculpture <i>Untitled</i> 2015 depicts a bear-like figure sitting on a tree stump, its face fixed in an ambiguous expression with its mouth open. It playfully resonates both with ancient Kurgan anthropomorphic stelae (standing stones carved in the appearance of human forms) and also with the carved wooden forms frequently found in children’s playgrounds in the artist’s native Russia. It is part of a group of sculptures and objects by Evgeny Antufiev in Tate’s collection that collectively reflect the breadth of his process-driven practice, in which he treats materials as symbolically charged and insists on accumulating bodies of knowledge that relate to the practices of carving wood, embroidery, casting metal and sculpting ceramic, in order to be able to craft all his pieces himself, without the support of assistants. The other works in the group are: <i>Untitled</i> 2015, a mask that brings together found materials into an object that obliquely evokes the forms of Siberian shamans’ masks (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/antufiev-untitled-t14935\" title=\"View the details of this artwork\"><span>T14935</span></a>); <i>Untitled </i>2015, a crowned head made of textile, bronze and amber that harnesses the symbolic potency that amber carries for the artist as a material that is fifty million years old and has ‘lived’ through momentous historic events (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/antufiev-untitled-t15061\" title=\"View the details of this artwork\"><span>T15061</span></a>); <i>Untitled</i> 2015, a knife cast in bronze, with its pommel in the form of a sharp-toothed animal’s head with its mouth open (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/antufiev-untitled-t15058\" title=\"View the details of this artwork\"><span>T15058</span></a>); <i>Untitled </i>2015, a brass chalice with three faces that look back at the viewer (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/antufiev-untitled-t15059\" title=\"View the details of this artwork\"><span>T15059</span></a>); and <i>Untitled</i> 2015, a ceramic figure that has the appearance of an eroded old stone sculpture (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/antufiev-untitled-t15060\" title=\"View the details of this artwork\"><span>T15060</span></a>). The works were first shown together as elements within Antufiev’s solo exhibition-installation <i>Seven Underground Kings or the Brief History of the Shadow</i> in 2015 at Regina Gallery in Moscow, as part of the parallel programme of the 6th Moscow Biennale of Contemporary Art.</p>\n<p>Antufiev is known for exploring the construction of myths and using symbolically charged materials that, through his own particular juxtapositions, are transformed into elements within his own idiosyncratic world order. His immersive installations consist of archetypes within the language of myths: heroes, weapons, beasts, chalices, disguises, which together combine into a narrative structure. The critic Valentin Diaconov described Antufiev as a ‘member of the class of artist-collectors’ (Valentin Diaconov in <i>Evgeny Antufiev</i> 2013, p.11) who, by arranging material in an individual order through a highly individualised logic, creates emotionally and symbolically charged environments. The artist frequently references forms found in his native Siberia.</p>\n<p>The tension between the art object and the object of ritual evoked by the individual forms of Antufiev’s sculptures and meticulous display methods characterises much of his practice. Commenting on the first exhibition of these works, Antufiev stated that ‘this is an exhibition about form, and what is more, it is about a flickering, unclear form’ (Evgeny Antufiev in conversation with Anatoly Osmolovsky, 15 September 2015, <a href=\"http://syg.ma/@furqat/miezhdu-ritualom-i-iskusstvom-anatolii-osmolovskii-i-ievghienii-antufiev-o-rabotie-s-matierialom\">http://syg.ma/@furqat/miezhdu-ritualom-i-iskusstvom-anatolii-osmolovskii-i-ievghienii-antufiev-o-rabotie-s-matierialom</a>, translated by Dina Akhmadeeva, accessed 22 May 2017). Antufiev’s decision to leave his works untitled is a deliberate addition to this ambiguity. The objects frequently move between these two roles as the works take on new ritual functions when they are co-opted into the artist’s performances. In his own invented absurdist game of bingo, <i>Dead Nation: Bingo Version</i> at the Whitechapel Gallery, London in 2016, Antufiev used his works as props, as well as offering them as gifts to audience members in return for performing certain actions.</p>\n<p>Likewise, central to the artist’s practice is the deliberate ambiguity of his works’ temporal origins. Antufiev’s choice of forms and materials convincingly take on the guise of the archaic in an attempt to disturb a linear chronology. The artist has explained, ‘I like it when an exhibition turns into an archaeological object, when you look and try to understand what these objects are for. You try to decipher the symbols. You take on the role of an archaeologist.’ (Ibid.) Antufiev works with materials that carry a long history and a symbolic weight – wood, ceramics, bronze, brass, textiles, amber – and the labour-intensive nature of his practice is evident in his works. In this engagement with materials, craft, folklore and myth, Antufiev has established himself since 2009 as one of the leading artists of a generation of contemporary Russian practitioners that has returned to tradition through the lens of conceptualism. Curator Katya Inozemtseva has noted, ‘Antufiev makes complex narrative structures, testing the very idea of the catalogue, the museum and museum forms of representation, memory, and history and, in the process, changing our attitudes to the collective and individual past.’ (Inozemtseva, in Garage Museum of Contemporary Art 2017, p.86.)</p>\n<p>The group of objects in Tate’s collection recreates on a smaller scale the narrative structure of Antufiev’s sprawling installations, which rely on connections made between elements. The works can also be displayed separately.</p>\n<p>\n<b>Further reading</b>\n<br/>Evgeny Antufiev, <i>Evgeny Antufiev</i>, Milan 2013.<br/>Katya Inozemtseva, ‘Evgeny Antufiev’, in Ruth Addison, Alexander Izvekov, Nikolai Molok<b> </b>(eds.),<b> </b><i>Garage Triennial of Russian Contemporary Art</i>, exhibition catalogue, Garage Museum of Contemporary Art, Moscow 2017, pp.86–7.</p>\n<p>Dina Akhmadeeva<br/>May 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-09-05T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Ink and watercolour on paper	[ { "append_role_to_name": false, "date": "1925–2021", "fc": "Etel Adnan", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/etel-adnan-26621" } ]	120,884	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,970	<a href="https://www.tate.org.uk/art/artists/etel-adnan-26621" aria-label="More by Etel Adnan" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Etel Adnan</a>		2,018		[]	Purchased with funds provided by an anonymous donor 2018	T15063	{ "id": 5, "meta": { "type": "art.Classification" } }	prints_and_drawings		7002980 7007157 7002857 1001148 1000126 1000004	Etel Adnan	1,970	[]	<p>This untitled work from 1970 by Etel Adnan is an example of her early ‘leporello’ works, leporello being a book format with folded concertina-style pages. In this particular example Adnan, who is both a visual artist and poet, made use of a text by the American beat poet Lawrence Ferlinghetti, a close friend of hers in California, acknowledged in the inscription on the cover of the leporello: ‘Ferlinghetti / Adnan 1970. The poem she chose is <span>Assassination Raga </span>(1968), an ecstatic funeral oration for Senator Robert Kennedy, written by Ferlinghetti as he watched Kennedy’s funeral on television on 8 June 1968 and included in his volume <span>The Secret Meaning of Things</span> (1968). Adnan spread the words of the poem out along the length of the leporello’s pages, combining them with watercolour stains and what look like abstract hieroglyphs, loosely superimposing a few Arab words onto the English text (as a reminder of the fact that a Palestinian man was suspected to be the perpetrator of Kennedy’s assassination in Los Angeles on 5 June 1968).</p>	true	1	https://media.tate.org.u…15/T15063_10.jpg	26621	paper unique ink watercolour	[ { "artistRoomsTour": false, "dateText": "25 March 2022 – 5 August 2023", "endDate": "2023-08-05", "exhibitionLegs": [ { "dateText": "25 March 2022 – 12 June 2022", "endDate": "2022-06-12", "id": 14748, "startDate": "2022-03-25", "venueName": "Martin-Gropius-Bau (Berlin, Germany)", "venueWebsiteUrl": null }, { "dateText": "1 September 2022 – 31 January 2023", "endDate": "2023-01-31", "id": 14749, "startDate": "2022-09-01", "venueName": "Musée d’Art Contemporain de Lyon (Lyon, France)", "venueWebsiteUrl": "http://www.moca-lyon.org" }, { "dateText": "19 March 2023 – 5 August 2023", "endDate": "2023-08-05", "id": 15416, "startDate": "2023-03-19", "venueName": "Mathaf: Arab Museum of Modern Art (Doha, Qatar)", "venueWebsiteUrl": null } ], "id": 12131, "startDate": "2022-03-25", "title": "Lyon Biennale 2022", "type": "Loan-out" } ]	Untitled	1,970	Tate	1970	Prints and Drawings Rooms	CLEARED	5	displayed: 213 × 2325 mm	accessioned work	Tate	Purchased with funds provided by an anonymous donor 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This untitled work from 1970 by Etel Adnan is an example of her early ‘leporello’ works, leporello being a book format with folded concertina-style pages. In this particular example Adnan, who is both a visual artist and poet, made use of a text by the American beat poet Lawrence Ferlinghetti, a close friend of hers in California, acknowledged in the inscription on the cover of the leporello: ‘Ferlinghetti / Adnan 1970. The poem she chose is <i>Assassination Raga </i>(1968), an ecstatic funeral oration for Senator Robert Kennedy, written by Ferlinghetti as he watched Kennedy’s funeral on television on 8 June 1968 and included in his volume <i>The Secret Meaning of Things</i> (1968). Adnan spread the words of the poem out along the length of the leporello’s pages, combining them with watercolour stains and what look like abstract hieroglyphs, loosely superimposing a few Arab words onto the English text (as a reminder of the fact that a Palestinian man was suspected to be the perpetrator of Kennedy’s assassination in Los Angeles on 5 June 1968).</p>\n<p>The use of the leporello format presented Adnan with a dynamic paradox: an expanded space, multiplying its potentialities as the pages unfurl but, when closed, reduced to the symbolic space of a notebook, a metaphor for mobility and aesthetic nomadism (Adnan herself is of Lebanese-Syrian origin but has lived in California since the 1950s). Adnan has recalled: ‘Around 1964, I discovered these Japanese “books” which fold like an accordion, on whose pages the Japanese painters mixed drawings with writings and poems … When I saw that format I thought it was a good way to get out of the page as a square or rectangle; it was like writing a river.’ (Quoted in Obrist 2014, p.45.) </p>\n<p>This practice has particular meaning in the Arab context where writing and art often come together. In Adnan’s hands, the pages of the leporello become a visual art medium that condenses a diversity of forms and aesthetics: from the old miniature book, to a modern paper ‘cinema’, where flipping through pages can result in the effect of moving images. Adnan’s mobile landscape of word and image has a multiplicity of references, from calligraphic manuscripts, to road trip-style sketches or notes from a travelogue, to depictions of planets and constellations in the cosmos. </p>\n<p>This particular work was made at a time when Adnan was teaching the philosophy of art at the University of California/San Rafael. This location is noted alongside the two signatures on the end page, although the work was done by Adnan alone. In her own later poems, such as <i>The Arab Apocalypse</i> (1989), Adnan’s language and rhythm demonstrate the influence of the Beat Generation poets.</p>\n<p>The ownership history of the work is significant. The artist had made a gift of the book to her friend Toni Maraini, an Italian art historian and cultural activist who, in the 1960–70s, was a member of the Casablanca art school (alongside Farid Belkahia and Mohammed Melehi). After their first encounter in Morocco, where Adnan staged an exhibition focused on her leporellos, at Galerie l’Atelier, Rabat, in 1978, she and Maraini remained in touch, meeting again in New York, Paris and Rome. In Italy, Maraini translated Adnan’s collection of short stories (<i>Ai confini della Luna</i>, Rome 1994) and a selection of her Californian poems from the book <i>The Spring Flowers Own</i> <i>and the Manifestations of the Voyage</i> (1990). She also wrote articles and texts about Adnan’s work in various publications, as well as translating Adnan’s book of poems <i>The Arab Apocalypse</i>, originally published in 1989 in California and in Italy in 2001. (Maraini also translated Ferlinghetti’s poems into Italian). As a gesture of her gratitude, Adnan gave this leporello to Maraini during a visit to Rome in 2001. As such, it embodies Adnan’s broad artistic, cultural and personal networks and trajectories.<br/>\n<br/>\n<b>Further reading</b>\n<br/>\n<i>Etel Adnan: On Love and the Cost We Are Not Willing to Pay Today: 100 Notes, 100 Thoughts</i>, Documenta series 006, Ostfildern 2011.<br/>Hans Ulrich Obrist, <i>Etel Adnan, In All Her Dimensions</i>, Doha & Milan 2014.<br/>Hans Ulrich Obrist, <i>Etel Adnan: The Weight of the World</i>, exhibition catalogue, Serpentine Gallery, London 2016.</p>\n<p>Morad Montazami<br/>June 2017 </p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-09-05T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Video, high definition, 2 projections, colour and sound (stereo)	[ { "append_role_to_name": false, "date": "born 1969", "fc": "Nira Pereg", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/nira-pereg-26551" } ]	120,885	[ { "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/nira-pereg-26551" aria-label="More by Nira Pereg" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Nira Pereg</a>	ABRAHAM ABRAHAM SARAH SARAH	2,018		[]	Purchased with funds provided by the Middle East North Africa Acquisitions Committee 2018	T15064	{ "id": 10, "meta": { "type": "art.Classification" } }			7001369 1000939 1000119 1000004	Nira Pereg	2,012	[]	<p>This work was filmed in a religious complex in the West Bank known to Muslims as Al-Haram Al-Ibrahimi (Sanctuary of Abraham) and to Jews as Me’arat Ha-Machpelah (Cave of the Double): it is a site of pilgrimage for both communities. Following a 1994 massacre of Palestinian worshippers at the hands of a US Israeli extremist, the site now operates under a strict division of areas for each religious community. 20 times a year, however, each community regains full use of the space in accordance with religious holidays. Pereg reflects on the bureaucracy of occupation by following preparations on a Muslim holiday in July 2012, when the chambers are turned into a mosque under the inspection of an Israeli military unit. The reverse process is also filmed on a Jewish holiday in November 2012, when the site becomes a synagogue.</p><p><em>Gallery label, February 2024</em></p>	false	1	https://media.tate.org.u…T15/T15064_9.jpg	26551	time-based media video high definition 2 projections colour sound stereo	[]	ABRAHAM ABRAHAM SARAH SARAH	2,012	Tate	2012		CLEARED	10	duration: 4min, 10sec	accessioned work	Tate	Purchased with funds provided by the Middle East North Africa Acquisitions Committee 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\"></div>\n", "display_name": "Summary", "publication_date": "2023-01-19T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This work was filmed in a religious complex in the West Bank known to Muslims as Al-Haram Al-Ibrahimi (Sanctuary of Abraham) and to Jews as Me’arat Ha-Machpelah (Cave of the Double): it is a site of pilgrimage for both communities. Following a 1994 massacre of Palestinian worshippers at the hands of a US Israeli extremist, the site now operates under a strict division of areas for each religious community. 20 times a year, however, each community regains full use of the space in accordance with religious holidays. Pereg reflects on the bureaucracy of occupation by following preparations on a Muslim holiday in July 2012, when the chambers are turned into a mosque under the inspection of an Israeli military unit. The reverse process is also filmed on a Jewish holiday in November 2012, when the site becomes a synagogue. </p>\n</div>\n", "display_name": "Display caption", "publication_date": "2024-02-16T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]	[]	null	false		false		artwork
Chalk, gouache and charcoal on slate	[ { "append_role_to_name": false, "date": "born 1965", "fc": "Tacita Dean CBE", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/tacita-dean-cbe-2675" } ]	120,889	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	2,017	<a href="https://www.tate.org.uk/art/artists/tacita-dean-cbe-2675" aria-label="More by Tacita Dean CBE" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Tacita Dean CBE</a>	Bless our Europe	2,018		[]	Presented by the artist in honour of Sir Nicholas Serota 2018	T15065	{ "id": 5, "meta": { "type": "art.Classification" } }			7012044 7008153 7002445 7008591	Tacita Dean CBE	2,017	[ { "archiveItemCount": 2876, "id": 107, "level": 2, "name": "cities, towns, villages (non-UK)", "parent_id": 106, "workCount": 10447 }, { "archiveItemCount": 93, "id": 1347, "level": 3, "name": "cloud", "parent_id": 77, "workCount": 1651 }, { "archiveItemCount": 4059, "id": 108, "level": 2, "name": "countries and continents", "parent_id": 106, "workCount": 13331 }, { "archiveItemCount": 1, "id": 71, "level": 3, "name": "landscape", "parent_id": 60, "workCount": 23426 }, { "archiveItemCount": 7, "id": 5703, "level": 3, "name": "Los Angeles - non-specific", "parent_id": 107, "workCount": 8 }, { "archiveItemCount": 0, "id": 106, "level": 1, "name": "places", "parent_id": 1, "workCount": 26467 }, { "archiveItemCount": 221, "id": 4574, "level": 3, "name": "sky", "parent_id": 71, "workCount": 769 }, { "archiveItemCount": 31, "id": 1691, "level": 3, "name": "USA, California", "parent_id": 108, "workCount": 81 }, { "archiveItemCount": 492, "id": 77, "level": 3, "name": "weather", "parent_id": 60, "workCount": 3071 } ]		false	1	https://media.tate.org.u…T15/T15065_9.jpg	2675	paper unique chalk gouache charcoal slate	[]	Bless our Europe	2,017	Tate	2017		CLEARED	5	support: 388 × 487 mm	accessioned work	Tate	Presented by the artist in honour of Sir Nicholas Serota 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p></p>\n<p>\n<i>Bless our Europe</i> is one of a number of slate drawings that relate to the artist’s eighteen-month trip to Los Angeles where she was artist in residence at the Getty Research Institute in 2014–15. Whilst there, she was struck by the nature of the cloudscapes that formed in the Californian skies and found her attention drawn away from the body of work she had intended to make, instead focusing on cloud formations as her subject matter. She made a group of colour lithographs and slate drawings that formed the basis of an exhibition entitled <i>… my English breath in foreign clouds</i>, held at Marian Goodman Gallery, New York in 2016, and a further exhibition, <i>LA Exuberance</i>, at Frith Street Gallery in London in 2016. Dean worked with Gemini G.E.L., an established print publisher in Los Angeles, to produce a set of colour lithographs that captured the cloud formations which had caught her attention. In parallel to the lithographs, Dean worked on a group of chalk drawings. Offered a number of original Victorian-era school slates, Dean was drawn to their patina and began to work on them using spray chalk, gouache and white charcoal pencil. She described the inspiration for these works:</p>\n<p class=\"cttext\">\n</p><blockquote>What surprised me most about Los Angeles was the one thing I had imagined there would be little of and that was clouds. These clouds differed from their European counterparts because they were nearly never gray but extremely variable and white; they appeared unconnected to rain, as in Europe, but instead to the imperceptible activity of winds high above the earth’s surface. Driving down Sunset Boulevard early on in my stay, I was confronted by a voluminous atomic cloud blooming at the end of the road in front of me, back-dropped by a deep blue sky. This inspired me to take up chalk on a blackboard once again. I have since become a cloud watcher.<br/>(Quoted in press release for Marian Goodman Gallery, 2016.)</blockquote>\n<p>Blackboard works have featured throughout Dean’s career, since she studied in the painting department at the Slade School of Fine Art in London (1990–2). Having come across a tin of blackboard paint, she applied it to a board and used chalk to make what the critic Jonathan Griffin has described as, ‘ethereal, notation-strewn drawings that emerged from – and, when wiped down, disappeared back into – darkness’. (Griffin 2018, p. 60.) An early set of blackboard drawings, <i>The Roaring Forties: Seven Boards in Seven Days </i>1997, was included in Dean’s exhibition for the Turner Prize in 1998; one of these 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/dean-the-roaring-forties-seven-boards-in-seven-days-t07613\" title=\"View the details of this artwork\"><span>T07613</span></a>).</p>\n<p>Clouds have been a recurrent motif in Dean’s work. For example, in her 16mm film, <i>Palast </i>2004 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/dean-palast-t12212\" title=\"View the details of this artwork\"><span>T12212</span></a>), the pale brown glass cladding of the Palace of the Republic on Schlossplatz in Berlin – the artist’s adopted city – reflects a sky of continuously changing cloudscapes. Clouds and amorphous organic forms also appear in <i>The Roaring Forties: Seven Boards in Seven Days</i>. Dean’s close observation of clouds is born of a genuine curiosity that echoes John Constable’s (1776–1837) seventeenth-century <i>Cloud Studies</i> (see, for example, <i>Cloud Study </i>1882 [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-cloud-study-n06065\" title=\"View the details of this artwork\"><span>N06065</span></a>]). Her practice as a whole tackles far-reaching subjects from the forces of nature and decay to history and nostalgia.</p>\n<p>\n<i>Bless our Europe</i> was commissioned by Kings College London on the occasion of the exhibition <i>Melancholia: A Sebald Variation</i> in 2017. The exhibition aimed to provoke reflection on the European condition and the nature of melancholy.</p>\n<p>\n<b>Further reading</b>\n<br/>Jean-Christophe Royoux, Marina Warner and Germaine Greer, <i>Tacita Dean</i>, London 2006.<br/>Press release for Tacita Dean solo exhibition <i>…my English breath in foreign clouds</i>, Marian Goodman Gallery, New York, 2 March–23 April 2016.<br/>Jonathan Griffin, ‘Tacita Dean: “I don’t care about the long run. I care about now”’, <i>RA Magazine</i>, 21 March 2018, pp.56–63.</p>\n<p>Hattie Spires<br/>April 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-11-14T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[ "cities, towns, villages (non-UK)", "cloud", "countries and continents", "landscape", "Los Angeles - non-specific", "places", "sky", "USA, California", "weather" ]	null	false	1347 5703 4574 1691 77	false		artwork
Acrylic paint on canvas	[ { "append_role_to_name": false, "date": "1934–2011", "fc": "John Hoyland", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/john-hoyland-1318" } ]	120,890	[ { "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/john-hoyland-1318" aria-label="More by John Hoyland" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">John Hoyland</a>	Story Nature 12996	2,018		[]	Presented by the artist’s estate 2018	T15066	{ "id": 6, "meta": { "type": "art.Classification" } }			7019047 7002445 7008591	John Hoyland	1,996	[]	<p>By the 1990s, Hoyland’s painting had been undergoing major changes with new points of reference – however hidden – to nature. The result of visits to Bali in 1994 and 1995, this work, as the title suggests, is connected to a visible world of trees and leaves, sunlight and shadow. However, according to Hoyland, ‘Paintings are not to be understood, they are to be recognised. They are an equivalent to nature, not an illustration of it.’</p><p><em>Gallery label, October 2019</em></p>	false	1	https://media.tate.org.u…T15/T15066_9.jpg	1318	painting acrylic paint canvas	[ { "artistRoomsTour": false, "dateText": "26 August 2019 – 3 November 2019", "endDate": "2019-11-03", "exhibitionLegs": [ { "dateText": "26 August 2019 – 3 November 2019", "endDate": "2019-11-03", "id": 13376, "startDate": "2019-08-26", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 11014, "startDate": "2019-08-26", "title": "John Hoyland", "type": "Collection based display" } ]	Story From Nature 12.9.96	1,996	Tate	1996		CLEARED	6	support: 2542 × 2365 mm	accessioned work	Tate	Presented by the artist’s estate 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p></p>\n<p>Throughout his career, Hoyland never maintained a distinct signature style, moving from thinly painted pictures, where the colour almost stains the canvas, to veils of colour that become thicker and more encrusted by the 1970s. By the late 1980s blocks of colour (sometimes given body with Polyfilla) were discarded in favour of calligraphic abstract signs, thickly painted on thin grounds of colour. Writing in 2006, the critic Mel Gooding described Hoyland’s approach to painting: </p>\n<p class=\"cttext\">\n</p><blockquote>Hoyland has persisted in his progress towards an extreme abstract art of declarative pyrotechnics and sensuous generosities. In an age of anxiety for painters, in which his contemporaries have been haunted by the questions of what to paint, how to paint, or whether to paint at all, Hoyland has suffered no doubts about his vocation: he paints because that is his chosen means to the poetic expression of a life.<br/>(Gooding 2006, p.157.) </blockquote>\n<p>However, despite his allegiance to a form of abstraction that can be typified by the work of painters that he admired, such as the American abstract expressionists Mark Rothko (1903–1970) or Hans Hofmann (1880–1966), Hoyland’s attachment to the idea of abstraction was not as clear cut as Gooding here suggests. This can be seen in a group of paintings from the mid-1990s, such as <i>Story From Nature 12.9.96</i>, a period in which his painting underwent profound change and witnessed the introduction of motifs that – however submerged – made reference to nature. The result of his visits to Bali in 1994 and 1995, these paintings are not about nature and process in the abstract but, as the title here suggests, are much more connected to a visible world – a world of trees and leaves, bright sunlight and deep dark shadows, or patterns made by parasites on the bark of trees. Compositionally, the forms no longer float within the canvas as previously but are held firm by the vertical bands of colour that, as Gooding recognised, are suggestive of:</p>\n<p class=\"cttext\">\n</p><blockquote>a rooted tree or a grounded idol. In others the pillars of what may be fire or lava flow downwards towards earth, and are accompanied by columns unmistakeably opaque and solid … These vertical features, seen against complex iridescent atmospherics, introduce a spatiality new to Hoyland’s painting, proposing topographies of near and far, interior and exterior: an immediate architecture, trees and objects in middle ground, and beyond them the deep skies of the tropics.<br/>(Mel Gooding, in Theo Waddington Fine Art 1995, unpaginated.) </blockquote>\n<p>The images that these paintings conjure provide an equivalence of different kinds of experience including the personal and the natural as well as the spiritual. In a notebook that he kept on one of his journeys to Bali, Hoyland identified himself and these paintings with the post-impressionist artist Paul Gauguin (1848–1903) and his work done in Tahiti, describing the ‘two distinct halves of his divided personality: on the one hand the lover of pleasure, the creator of images with a frank physical sensuousness, and on the other hand the searcher after a disappearing spirituality’ (quoted in Gooding 2006, p.175).</p>\n<p>The painting’s title, in line with Hoyland’s practice throughout his work, includes the date on which it was completed, in this case 12 September 1996. This use of the date has diaristic resonances, suggesting an element of personal expression that underscores the narrative suggested by the rest of the title.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>John Hoyland, Bali Paintings</i>, exhibition catalogue, Theo Waddington Fine Art, London 1995.<br/>Mel Gooding, <i>John Hoyland</i>, London 2006, illustrated p.172.<br/>Andrew Lambirth, <i>John Hoyland, Scatter the Devils</i>, Norwich 2009.</p>\n<p>Andrew Wilson<br/>April 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-11-14T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>By the 1990s, Hoyland’s painting had been undergoing major changes with new points of reference – however hidden – to nature. The result of visits to Bali in 1994 and 1995, this work, as the title suggests, is connected to a visible world of trees and leaves, sunlight and shadow. However, according to Hoyland, ‘Paintings are not to be understood, they are to be recognised. They are an equivalent to nature, not an illustration of it.’</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2019-10-04T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]	[]	null	false		false		artwork
Acrylic paint on canvas	[ { "append_role_to_name": false, "date": "1934–2011", "fc": "John Hoyland", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/john-hoyland-1318" } ]	120,891	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	2,010	<a href="https://www.tate.org.uk/art/artists/john-hoyland-1318" aria-label="More by John Hoyland" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">John Hoyland</a>	When Time Began Mysteries 11 151110	2,018		[]	Presented by the artist’s estate 2018	T15067	{ "id": 6, "meta": { "type": "art.Classification" } }			7019047 7002445 7008591	John Hoyland	2,010	[]	<p>In 2008 Hoyland revealed that ‘I like to try and make these pictures paint themselves. The less you impose, the fresher it is. Painting is a kind of alchemy.’ Though his painting shifted in appearance throughout his life, Hoyland consistently approached it as an expression of his engagement with life. Smaller than his usual paintings – a practical result of recent heart surgery – the Mysteries communicate a sense of spirituality combined with an awareness of mortality. This mood contrasts with Hoyland’s earlier work which he infused with a love of life and freedom.</p><p><em>Gallery label, October 2019</em></p>	false	1	https://media.tate.org.u…T15/T15067_9.jpg	1318	painting acrylic paint canvas	[ { "artistRoomsTour": false, "dateText": "26 August 2019 – 3 November 2019", "endDate": "2019-11-03", "exhibitionLegs": [ { "dateText": "26 August 2019 – 3 November 2019", "endDate": "2019-11-03", "id": 13376, "startDate": "2019-08-26", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 11014, "startDate": "2019-08-26", "title": "John Hoyland", "type": "Collection based display" } ]	When Time Began (Mysteries 11) 15.11.10	2,010	Tate	2010		CLEARED	6	support: 1530 × 1399 mm	accessioned work	Tate	Presented by the artist’s estate 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p></p>\n<p>Hoyland never maintained a distinct signature style, moving from thinly painted pictures, where the colour almost stains the canvas, to veils of colour that become thicker and more encrusted by the 1970s. By the late 1980s blocks of colour (sometimes given body with Polyfilla) were discarded in favour of calligraphic abstract signs, thickly painted on thin grounds of colour. Writing in 2006, the critic Mel Gooding described Hoyland’s approach to painting:</p>\n<p class=\"cttext\">\n</p><blockquote>Hoyland has persisted in his progress towards an extreme abstract art of declarative pyrotechnics and sensuous generosities. In an age of anxiety for painters, in which his contemporaries have been haunted by the questions of what to paint, how to paint, or whether to paint at all, Hoyland has suffered no doubts about his vocation: he paints because that is his chosen means to the poetic expression of a life.<br/>(Gooding 2006, p.157.) </blockquote>\n<p>However, despite his allegiance to a form of abstraction that can be typified by the work of painters that he admired, such as the American abstract expressionists Mark Rothko (1903–1970) or Hans Hofmann (1880–1966), Hoyland’s attachment to the idea of abstraction was not as clear cut as Gooding here suggests. This can be seen in a group of paintings from the mid-1990s, such as <i>Story from Nature 12.9.96</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hoyland-story-from-nature-12-9-96-t15066\" title=\"View the details of this artwork\"><span>T15066</span></a>), a period in which his painting underwent profound change and witnessed the introduction of motifs that – however submerged – made reference to nature. </p>\n<p>In the<i> Mysteries</i> paintings, the emphatic verticality of pictures such as <i>Story from Nature </i>was dispensed with in favour of a return to centralised forms away from the edges of the painting, closer to the compositions of Hoyland’s work of the late 1980s. However, these late paintings, in their technique, extend the spatial depths and ambiguities of the Bali paintings through the creation of a myriad of surface marks that appear to co-exist alongside a centralised dark plunging space that is the result of glazes of opaque, matte, gloss, metallic and translucent paint laid over a dark ground. These all layer together to create otherworldly surfaces and spaces that become tangible through the pooling of bright colour. Unlike Hoyland’s works made since the late 1980s, the compositions of which were worked out through drawing, these last paintings communicate space and volume that is purely painted. When they were first exhibited at the Beaux Arts Gallery, London, shortly before Hoyland’s death, the catalogue included a quote by Hoyland about Rothko, whom he said ‘painted zones of reality … Independent of signs, space existed before the beginning of form but retaining feeling as a living reality.’ (In <i>John Hoyland: Mysteries</i>, exhibition catalogue, Beaux Arts Gallery, London 2011.) Smaller than his usual paintings – a practical result of a recent heart operation – the <i>Mysteries</i> express a sense of spirituality alongside intimations of mortality, feelings previously absent in a lifelong approach to abstraction that had been driven by the expression of a love of life and a freedom from being bound by accepted taste or convention.</p>\n<p>\n<b>Further reading</b>\n<br/>Mel Gooding, <i>John Hoyland</i>, London 2006.<br/>Andrew Lambirth, <i>John Hoyland, Scatter the Devils</i>, Norwich 2009.</p>\n<p>Andrew Wilson<br/>April 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-11-14T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>In 2008 Hoyland revealed that ‘I like to try and make these pictures paint themselves. The less you impose, the fresher it is. Painting is a kind of alchemy.’ Though his painting shifted in appearance throughout his life, Hoyland consistently approached it as an expression of his engagement with life. Smaller than his usual paintings – a practical result of recent heart surgery – the Mysteries communicate a sense of spirituality combined with an awareness of mortality. This mood contrasts with Hoyland’s earlier work which he infused with a love of life and freedom.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2019-10-04T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]	[]	null	false		false		artwork
Oil paint on canvas	[ { "append_role_to_name": false, "date": "1793 – 1872", "fc": "Margaret Sarah Carpenter (née Geddes)", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/margaret-sarah-carpenter-27742" } ]	120,901	[ { "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" } ]	1,852	<a href="https://www.tate.org.uk/art/artists/margaret-sarah-carpenter-27742" aria-label="More by Margaret Sarah Carpenter (née Geddes)" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Margaret Sarah Carpenter (née Geddes)</a>	Selfportrait	2,018		[]	Presented by Tate Members 2018	T15068	{ "id": 6, "meta": { "type": "art.Classification" } }			7011210 7008180 7002445 7008591 7011781 7008136	Margaret Sarah Carpenter (née Geddes)	1,852	[]	<p>This large self-portrait by Margaret Sarah Carpenter is painted in oil on canvas and signed and dated 1852. There are no brushes or palette in the portrait as is often the case with artists’ self-portraits and, at first glance, the artist appears to have represented herself as an ordinary middle-aged and middle-class woman. She has painted herself seated, dressed in sober black with her hair tidied away in a white bonnet. However, the large African Grey parrot perched on her right arm is an unusual companion: known for its intelligence and ability to talk, the bird was probably a pet. The sitter’s appreciation for the natural world is also evident in the fresh snowdrops at her temples which replace the more formal jewellery conventional in such portraits and may indicate the season is early spring. Most importantly, Carpenter set aside the conventions of idealisation often expected in portraits and painted her hands and face with direct naturalism; her eyes especially capture a lively thoughtfulness. Although Carpenter omitted the tools of her trade, her status as an artist at the height of her career is hinted at in the ornately carved chair and column and balustrade setting, which look back to traditions of British portraits from Sir Anthony Van Dyck (1599–1641) to Sir Joshua Reynolds (1723–1792). A late work, this was her last self-portrait and the only one to have been painted in oil; it may have been made for the artist’s family, but declares Carpenter’s achievements in its confident scale and handling.</p>	false	1	https://media.tate.org.u…15/T15068_10.jpg	27742	painting oil paint canvas	[ { "artistRoomsTour": false, "dateText": "1 September 2025 – 25 April 2027", "endDate": "2027-04-25", "exhibitionLegs": [ { "dateText": "1 September 2025 – 31 December 2025", "endDate": "2025-12-31", "id": 16110, "startDate": "2025-09-01", "venueName": "CaixaForum Madrid (Madrid, Spain)", "venueWebsiteUrl": null }, { "dateText": "1 February 2026 – 31 May 2026", "endDate": "2026-05-31", "id": 16111, "startDate": "2026-02-01", "venueName": "CaixaForum Barcelona (Barcelona, Spain)", "venueWebsiteUrl": "http://www3.lacaixa.es" }, { "dateText": "1 August 2026 – 30 November 2026", "endDate": "2026-11-30", "id": 16112, "startDate": "2026-08-01", "venueName": "CaixaForum Zaragoza (Saragossa, Spain)", "venueWebsiteUrl": null }, { "dateText": "10 December 2026 – 25 April 2027", "endDate": "2027-04-25", "id": 16113, "startDate": "2026-12-10", "venueName": "External", "venueWebsiteUrl": null } ], "id": 13211, "startDate": "2025-09-01", "title": "Self Portraits", "type": "Loan-out" } ]	Self-portrait	1,852	Tate	1852		CLEARED	6	support: 919 × 740 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> 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This large self-portrait by Margaret Sarah Carpenter is painted in oil on canvas and signed and dated 1852. There are no brushes or palette in the portrait as is often the case with artists’ self-portraits and, at first glance, the artist appears to have represented herself as an ordinary middle-aged and middle-class woman. She has painted herself seated, dressed in sober black with her hair tidied away in a white bonnet. However, the large African Grey parrot perched on her right arm is an unusual companion: known for its intelligence and ability to talk, the bird was probably a pet. The sitter’s appreciation for the natural world is also evident in the fresh snowdrops at her temples which replace the more formal jewellery conventional in such portraits and may indicate the season is early spring. Most importantly, Carpenter set aside the conventions of idealisation often expected in portraits and painted her hands and face with direct naturalism; her eyes especially capture a lively thoughtfulness. Although Carpenter omitted the tools of her trade, her status as an artist at the height of her career is hinted at in the ornately carved chair and column and balustrade setting, which look back to traditions of British portraits from Sir Anthony Van Dyck (1599–1641) to Sir Joshua Reynolds (1723–1792). A late work, this was her last self-portrait and the only one to have been painted in oil; it may have been made for the artist’s family, but declares Carpenter’s achievements in its confident scale and handling.</p>\n<p>Carpenter was an admired, talented and successful professional artist, specialising in portraits; she had a thriving independent practice in London from the age of twenty, exhibited at the Royal Academy from 1814 to 1866 and her cultural circle included Richard Parkes Bonington, John Constable and William Collins. She was one of the most successful professional artists – and women artists – of her era. Though best remembered for her appealing bravura portraits of the 1830s and 1840s, which were sought after for their colour, light, strength and effect, and anatomical drawing, <i>Self-portrait –</i> painted at the age of fifty-nine – represents the culmination of her career. An earlier watercolour <i>Self-portrait</i> (British Museum, London), made when she was twenty-four, in the year of her marriage, exhibits a similar lack of idealisation compared to her commissioned female portraits and looks forward to the focus on real appearance and personality that is a feature of the later oil painting. Though the later work is, naturally, more stately in appearance, both depictions capture a sense of supressed humour behind the serious demeanour.</p>\n<p>Carpenter was mainly self-taught, yet she won Society of Arts medals in 1812–14 and, by her early twenties, was established in London as a fashionable portrait painter and financially independent for the rest of her life. She worked in oils, watercolour and chalks and painted men, women and children as well as genre and landscape scenes. Her work was warmly reviewed for its style and anatomical confidence and she was never seen as a follower of male painters. </p>\n<p>\n<b>Further reading</b>\n<br/>Richard J. Smith, <i>Margaret Sarah Carpenter (1793–1872); A Brief Biography</i>, Salisbury 1993.<br/>Richard J. Smith, <i>Margaret Carpenter Bicentenary Exhibition</i>, exhibition catalogue, Salisbury Museum 1993.<br/>Delia Gaze, <i>Dictionary of Women Artists: Artists</i>, vol.2, ‘J–Z’, Abingdon 1997, pp.348–51.</p>\n<p>Carol Jacobi<br/>April 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-11-14T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Acrylic paint on paper on canvas	[ { "append_role_to_name": false, "date": "1955–2017", "fc": "Tim Rollins and K.O.S. (Tim Rollins 1955–2017)", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/tim-rollins-and-k-o-s-29468" } ]	120,902	[ { "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/tim-rollins-and-k-o-s-29468" aria-label="More by Tim Rollins and K.O.S. (Tim Rollins 1955–2017)" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Tim Rollins and K.O.S. (Tim Rollins 1955–2017)</a>	Animal Farm Big Three	2,018		[]	Presented by the Mottahedan Family 2018	T15069	{ "id": 6, "meta": { "type": "art.Classification" } }				Tim Rollins and K.O.S. (Tim Rollins 1955–2017)	1,989	[ { "archiveItemCount": 766, "id": 14, "level": 2, "name": "agricultural", "parent_id": 13, "workCount": 300 }, { "archiveItemCount": 159, "id": 79, "level": 2, "name": "agriculture, gardening & fishing", "parent_id": 78, "workCount": 792 }, { "archiveItemCount": 141, "id": 1800, "level": 3, "name": "animal / human", "parent_id": 63, "workCount": 163 }, { "archiveItemCount": 311, "id": 63, "level": 3, "name": "animals: fantastic", "parent_id": 60, "workCount": 382 }, { "archiveItemCount": 224, "id": 64, "level": 3, "name": "animals: features", "parent_id": 60, "workCount": 515 }, { "archiveItemCount": 858, "id": 67, "level": 3, "name": "animals: mammals", "parent_id": 60, "workCount": 4013 }, { "archiveItemCount": 1, "id": 13, "level": 1, "name": "architecture", "parent_id": 1, "workCount": 30959 }, { "archiveItemCount": 0, "id": 42449, "level": 3, "name": "book, Orwell, George, ‘Animal Farm’", "parent_id": 174, "workCount": 1 }, { "archiveItemCount": 29, 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"horse", "parent_id": 67, "workCount": 1391 }, { "archiveItemCount": 1697, "id": 166, "level": 2, "name": "inscriptions", "parent_id": 162, "workCount": 4967 }, { "archiveItemCount": 0, "id": 14316, "level": 3, "name": "Kohl, Helmut", "parent_id": 102, "workCount": 2 }, { "archiveItemCount": 362, "id": 58, "level": 2, "name": "literature (not Shakespeare)", "parent_id": 55, "workCount": 1914 }, { "archiveItemCount": 674, "id": 55, "level": 1, "name": "literature and fiction", "parent_id": 1, "workCount": 2464 }, { "archiveItemCount": 2, "id": 15962, "level": 3, "name": "milk churn", "parent_id": 79, "workCount": 2 }, { "archiveItemCount": 0, "id": 42450, "level": 3, "name": "Miyazawa, Kiichi", "parent_id": 102, "workCount": 1 }, { "archiveItemCount": 9734, "id": 102, "level": 2, "name": "named individuals", "parent_id": 91, "workCount": 3153 }, { "archiveItemCount": 9924, "id": 78, "level": 1, "name": "objects", "parent_id": 1, "workCount": 13647 }, { "archiveItemCount": 0, "id": 14321, "level": 3, "name": "Orwell, George, ‘Animal Farm’", "parent_id": 58, "workCount": 3 }, { "archiveItemCount": 0, "id": 91, "level": 1, "name": "people", "parent_id": 1, "workCount": 22072 }, { "archiveItemCount": 1, "id": 72, "level": 3, "name": "plants and flowers", "parent_id": 60, "workCount": 1846 }, { "archiveItemCount": 137, "id": 12443, "level": 3, "name": "political power", "parent_id": 155, "workCount": 12 }, { "archiveItemCount": 1, "id": 23231, "level": 3, "name": "politician, Chancellor of Germany", "parent_id": 130, "workCount": 1 }, { "archiveItemCount": 12, "id": 3114, "level": 3, "name": "politician, president", "parent_id": 130, "workCount": 21 }, { "archiveItemCount": 106, "id": 698, "level": 3, "name": "politician, prime minister", "parent_id": 130, "workCount": 22 }, { "archiveItemCount": 4, "id": 9326, "level": 3, "name": "printed text", "parent_id": 166, "workCount": 1134 }, { "archiveItemCount": 673, "id": 130, "level": 2, "name": "public service", "parent_id": 116, "workCount": 199 }, { "archiveItemCount": 2924, "id": 174, "level": 2, "name": "reading, writing, printed matter", "parent_id": 78, "workCount": 2235 }, { "archiveItemCount": 95, "id": 843, "level": 3, "name": "satire", "parent_id": 158, "workCount": 170 }, { "archiveItemCount": 4671, "id": 158, "level": 2, "name": "social comment", "parent_id": 145, "workCount": 1913 }, { "archiveItemCount": 0, "id": 145, "level": 1, "name": "society", "parent_id": 1, "workCount": 15153 }, { "archiveItemCount": 13, "id": 3974, "level": 3, "name": "sunflower", "parent_id": 72, "workCount": 13 }, { "archiveItemCount": 1762, "id": 162, "level": 1, "name": "symbols and personifications", "parent_id": 1, "workCount": 5388 }, { "archiveItemCount": 2439, "id": 28, "level": 2, "name": "townscapes / man-made features", "parent_id": 13, "workCount": 19164 }, { "archiveItemCount": 6, "id": 1140, "level": 3, "name": "tractor", "parent_id": 160, "workCount": 11 }, { "archiveItemCount": 0, "id": 160, "level": 2, "name": "transport: land", "parent_id": 145, "workCount": 2189 }, { "archiveItemCount": 0, "id": 116, "level": 1, "name": "work and occupations", "parent_id": 1, "workCount": 5453 } ]	<p><span>Animal Farm – Big Three</span> 1989–92 is painted on pages torn from George Orwell’s novel <span>Animal Farm</span>,<span> </span>first published in 1945, which have been mounted on a canvas. The pages – 119 in total – build the backdrop of the painting and are organised in a grid of seven rows of seventeen pages. A scene depicting three farm animals in a field is painted in brown acrylic paint. The animals’ heads are replaced with those of contemporary politicians and world leaders. In the centre of the painting is Bill Clinton’s head on the body of a trotting horse. Clinton, who was elected president of the United States in November 1992, rears his head, gazing confidently into the distance. Lying near him on the ground are an upset milk can, a slab of honeycomb and some withered sunflowers. To the left of Clinton is the head of former Federal Chancellor of Germany, Helmut Kohl, on the body of a sleek and shiny cow. He meets the viewer’s gaze smiling contentedly. On Clinton’s right is a goat which appears weak and frail. Its head appears to be that of Kiichi Miyazawa, Prime Minister of Japan between 1991 and 1993.</p>	false	1	https://media.tate.org.u…15/T15069_10.jpg	29468	painting acrylic paint paper canvas	[]	Animal Farm - Big Three	1,989	Tate	1989–92		CLEARED	6	support: 1372 × 2034 mm	accessioned work	Tate	Presented by the Mottahedan Family 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Animal Farm – Big Three</i> 1989–92 is painted on pages torn from George Orwell’s novel <i>Animal Farm</i>,<i> </i>first published in 1945, which have been mounted on a canvas. The pages – 119 in total – build the backdrop of the painting and are organised in a grid of seven rows of seventeen pages. A scene depicting three farm animals in a field is painted in brown acrylic paint. The animals’ heads are replaced with those of contemporary politicians and world leaders. In the centre of the painting is Bill Clinton’s head on the body of a trotting horse. Clinton, who was elected president of the United States in November 1992, rears his head, gazing confidently into the distance. Lying near him on the ground are an upset milk can, a slab of honeycomb and some withered sunflowers. To the left of Clinton is the head of former Federal Chancellor of Germany, Helmut Kohl, on the body of a sleek and shiny cow. He meets the viewer’s gaze smiling contentedly. On Clinton’s right is a goat which appears weak and frail. Its head appears to be that of Kiichi Miyazawa, Prime Minister of Japan between 1991 and 1993.</p>\n<p>Orwell’s <i>Animal Farm</i> is a dystopian tale, set on a farm in England, which narrates the animals’ revolt against their human owners. Once they succeed, the animals’ comradeship quickly disintegrates and gives way to a new regime, crueller and more authoritarian, led by the pigs. The painting’s title, <i>Big Three,</i> is a common expression which denotes the three most prominent entities in a grouping. In this context, the term refers to three of the main figures in world politics.<i> </i>This work is one of a series of <i>Animal Farm</i> works which depict different groups of politicians, such as the leaders of the so-called ‘G7’ group of countries (<i>Animal Farm – G7</i> 1989–92, L02312). <i>Animal Farm ’92 (After George Orwell)</i> 1992, the largest work in the series, depicts the heads of over one hundred political figures of the time on animal bodies.</p>\n<p>American artist Tim Rollins was a conceptual artist and pioneer of socially engaged art. He was a student of the conceptual artist Joseph Kosuth (born 1945), who had a profound influence on his practice. A key part of Rollins’s output, including this work, was produced in collaboration with K.O.S (Kids of Survival). Rollins began this collaboration with a group of young people of New York’s South Bronx neighbourhood in 1981, while working as an art teacher. From 1982 onwards, Rollins + K.O.S. employed the technique of painting on pages torn from works of Western literature. Indeed, it became the defining characteristic of the group’s practice. Oliver Basciano’s obituary of Tim Rollins in the <i>Guardian</i> described the unlikely birth of this technique:</p>\n<p class=\"cttext\">\n</p><blockquote>Rollins organised an extracurricular art club, the Art and Knowledge Workshop, for his most enthusiastic students, meeting every day after school and at weekends to create collaborative paintings. At one such meeting, one of the ‘kids’, Carlos Rivera, then 12, drew on the pages of a book. ‘I wanted to kill him at first,’ Rollins recalled, ‘but it looked really great. And I was blown away by the fact that here was this dyslexic kid who had captured the essence of the book in a drawing on the book.’ It became the group’s leitmotif.<br/>(Oliver Basciano, ‘Tim Rollins Obituary’, <i>The Guardian</i>, 12 January 2018, <a href=\"https://www.theguardian.com/artanddesign/2018/jan/12/tim-rollins-obituary\">https://www.theguardian.com/artanddesign/2018/jan/12/tim-rollins-obituary</a>, accessed January 2018.)</blockquote>\n<p>Subsequently, the group used the pages from such classics as Dante Alighieri’s <i>Inferno</i>, T.S. Eliot’s <i>Four Quartets</i>, Mary Shelley’s <i>Frankenstein</i> and <i>The Autobiography of Malcolm X</i>. However, Rollins objected to the paintings being interpreted as illustrations to the books:</p>\n<p class=\"cttext\">\n</p><blockquote>We began painting on book pages because, well, it looked great. It was like skating or dancing on the surface of the leaf torn from a selected volume. It felt transgressive yet transcendent simultaneously. We were broke, so we had to work with very inexpensive materials like watercolor [sic.]. While the results often feel immediate, the medium does require a certain concentration, control, love of chance, and happy accidents. We were making illuminations inspired by the narratives and movements of the carpet of texts underneath. They are categorically not illustrations, but something more integrated.<br/>(Quoted in GAMeC–Galleria d’Arte Moderna e Contemporanea/Museum fur Gegenwartskunst 2011–12, p.7.)</blockquote>\n<p>Nonetheless, there is a considerable interplay between image and text in the works, as seen in <i>Animal Farm – Big Three</i>. The text serves as a starting point and source of inspiration for the images. It also facilitates the construction of the grid-like structure, which contributes to the physical appearance of the work. Liberated from the inherent sequentiality of a book, the pages are given simultaneity on the canvas, collapsing the traditional generic boundaries between literature and visual art. </p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Amerika. Tim Rollins + K.O.S</i>., exhibition catalogue, Dia Art Foundation, New York, 13 October 1989–17 June 1990.<br/>Arthur Coleman Danto, ‘Tim Rollins + K.O.S. (Kids of Survival; artists)’, in <i>The Nation</i>, 22 January 1990, vol.250 (3), p.100.<br/>\n<i>Tim Rollins & K.O.S. An Index</i>, exhibition catalogue, GAMeC–Galleria d’Arte Moderna e Contemporanea, Bergamo, 28 September 2011–8 January 2012, Museum fur Gegenwartskunst, Basel, 21 January–15 April 2012.</p>\n<p>Monika Bayer-Wermuth<br/>January 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-11-14T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[ "agricultural", "agriculture, gardening & fishing", "animal / human", "animals: fantastic", "animals: features", "animals: mammals", "architecture", "book, Orwell, George, ‘Animal Farm’", "bull", "caricature", "Clinton, Bill", "cow", "farm", "fence", "goat", "government and politics", "honeycomb", "horse", "inscriptions", "Kohl, Helmut", "literature and fiction", "literature (not Shakespeare)", "milk churn", "Miyazawa, Kiichi", "named individuals", "objects", "Orwell, George, ‘Animal Farm’", "people", "plants and flowers", "political power", "politician, Chancellor of Germany", "politician, president", "politician, prime minister", "printed text", "public service", "reading, writing, printed matter", "satire", "social comment", "society", "sunflower", "symbols and personifications", "townscapes / man-made features", "tractor", "transport: land", "work and occupations" ]	null	false	14 79 1800 63 64 67 1130 847 569 1561 1104 1133 155 4573 602 166 14316 58 15962 14321 72 12443 23231 3114 698 9326 130 174 843 158 3974 1140 160	false		artwork
Oil paint and pigment on canvas	[ { "append_role_to_name": false, "date": "born 1969", "fc": "Thilo Heinzmann", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/thilo-heinzmann-14527" } ]	120,903	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	2,013	<a href="https://www.tate.org.uk/art/artists/thilo-heinzmann-14527" aria-label="More by Thilo Heinzmann" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Thilo Heinzmann</a>	O T	2,018		[]	Presented by the artist and Charles Asprey 2018	T15070	{ "id": 6, "meta": { "type": "art.Classification" } }			7000811 7017584 1000193 7001242	Thilo Heinzmann	2,013	[]	<p>O<span>.T.</span> 2013 is a large canvas painted with white paint containing poppy seed oil, onto which purple pigment has been applied while the ground was still wet. <span>O.T. </span>stands for the German ‘ohne titel’, meaning ‘untitled’. The work is shown encased in a Perspex box. It is one of a series of paintings by the artist created using pigments which he either tipped or blew onto wet canvas to create bold, gestural marks. Heinzmann started making these ‘Pigment’ paintings around 2008, exhibiting them for the first time at Bortolami Gallery in New York in 2008 in his solo show <span>An Empty Stomach is the Devil’s Playground</span>. In the case of this painting, a studio assistant held the painting while the artist blew the pigment onto the centre of the canvas in three different directions. This action continues the trajectory of performative practices in painting initiated in the 1950s by artists such as Yves Klein (1928–1962).</p>	false	1	https://media.tate.org.u…15/T15070_10.jpg	14527	painting oil paint pigment canvas	[]	O. T.	2,013	Tate	2013		CLEARED	6	Perspex box: 1958 × 2646 × 109 mm	accessioned work	Tate	Presented by the artist and Charles Asprey 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>O<i>.T.</i> 2013 is a large canvas painted with white paint containing poppy seed oil, onto which purple pigment has been applied while the ground was still wet. <i>O.T. </i>stands for the German ‘ohne titel’, meaning ‘untitled’. The work is shown encased in a Perspex box. It is one of a series of paintings by the artist created using pigments which he either tipped or blew onto wet canvas to create bold, gestural marks. Heinzmann started making these ‘Pigment’ paintings around 2008, exhibiting them for the first time at Bortolami Gallery in New York in 2008 in his solo show <i>An Empty Stomach is the Devil’s Playground</i>. In the case of this painting, a studio assistant held the painting while the artist blew the pigment onto the centre of the canvas in three different directions. This action continues the trajectory of performative practices in painting initiated in the 1950s by artists such as Yves Klein (1928–1962). </p>\n<p>The art historian Philipp Ekardt has described the significance of the use of pigment powder in its raw form in Heinzmann’s work:</p>\n<p class=\"cttext\">\n</p><blockquote>the work and its impact are set in motion through an element – pigment powder – whose lack of aggregation and non-submission to binding forces would usually put it in a place that precedes the work process. This also opens up new ways to mix the colors [sic.], which are not first dissolved in a chemical medium and then presented to the eye as a compact visual tone that can in turn be mixed with other hues. Instead ‘mixing’ here signifies a relationship that takes place directly within the eye as an optical combination, resulting from an interplay of the pigment’s material qualities and its application to the structured surface … color is present here as both hue and material. </blockquote>\n<blockquote>(In Ekardt and Bracewell 2012, p.97.)</blockquote>\n<p>Part of a generation of German contemporary painters who work within the field of ‘expanded painting’ – that is, who question and explore what constitutes painting and what the status of a painting as an object in itself is – Heinzmann scrutinises his chosen medium and its history. He does this in part by using a wide range of materials, such as Styrofoam (as in <i>Untitled </i>2000 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/heinzmann-untitled-t13301\" title=\"View the details of this artwork\"><span>T13301</span></a>] and <i>O.T. </i>2017 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/heinzmann-o-t-t15071\" title=\"View the details of this artwork\"><span>T15071</span></a>]), feathers, cotton wool (as in <i>Love Story </i>2002 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/heinzmann-love-story-t13302\" title=\"View the details of this artwork\"><span>T13302</span></a>]), cow and horse skin, crystals, minerals and aluminium, as well as pure pigment. These are not arbitrary ‘found’ materials but rather each is chosen for its particular characteristics. Heinzmann’s work not only explores the medium of painting but also key moments in art history, and more specifically the history of modernism. Paintings such as <i>O.T. </i>2013 can be seen as referring to a post-war period of painting which witnessed a rejection of the traditional conventions of the medium in favour of a move towards abstraction, both in Europe and the United States. The gesture and mark-making of the painter were crucial in this development, as demonstrated in the work of artists like Jackson Pollock (1912–1956), Hans Hartung (1904–1989) and Lucio Fontana (1899–1968).</p>\n<p>\n<b>Further reading</b>\n<br/>Philipp Ekardt and Michael Bracewell, <i>Thilo Heinzmann</i>, Berlin 2012.<br/>Colin Perry, <i>Thilo Heinzmann</i>, <i>frieze</i>, issue 126, October 2009, <a href=\"https://frieze.com/article/thilo-heinzmann\">https://frieze.com/article/thilo-heinzmann</a>, accessed March 2018.</p>\n<p>Juliette Rizzi<br/>March 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-10-20T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Polystyrene, acrylic, wood, glass and paint	[ { "append_role_to_name": false, "date": "born 1969", "fc": "Thilo Heinzmann", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/thilo-heinzmann-14527" } ]	120,904	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	2,017	<a href="https://www.tate.org.uk/art/artists/thilo-heinzmann-14527" aria-label="More by Thilo Heinzmann" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Thilo Heinzmann</a>	OT	2,018		[]	Presented by the artist and Charles Asprey 2018	T15071	{ "id": 7, "meta": { "type": "art.Classification" } }			7000811 7017584 1000193 7001242	Thilo Heinzmann	2,017	[]	<p><span>O.T.</span> 2017 is a painting created using a block of Styrofoam, a brand of expanded polystyrene used especially for making food containers and protective packaging, mounted onto a painted white wooden board and encased in a Perspex box. Embedded in a corner of the foam is a small piece of yellow, blue and green coloured glass. This is the first example of the artist drawing upon his personal interest in collecting designer glass. The artist is interested in Styrofoam as a modern industrial product with particular material properties. He had previously used the material as a support for painting in works such as <span>Untitled </span>2000 (Tate T13301). <span>O.T. </span>stands for the German ‘ohne titel’, meaning ‘untitled’.</p>	false	1	https://media.tate.org.u…15/T15071_10.jpg	14527	relief polystyrene acrylic wood glass paint	[]	O.T.	2,017	Tate	2017		CLEARED	7	object: 1513 × 1316 × 233 mm	accessioned work	Tate	Presented by the artist and Charles Asprey 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>O.T.</i> 2017 is a painting created using a block of Styrofoam, a brand of expanded polystyrene used especially for making food containers and protective packaging, mounted onto a painted white wooden board and encased in a Perspex box. Embedded in a corner of the foam is a small piece of yellow, blue and green coloured glass. This is the first example of the artist drawing upon his personal interest in collecting designer glass. The artist is interested in Styrofoam as a modern industrial product with particular material properties. He had previously used the material as a support for painting in works such as <i>Untitled </i>2000 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/heinzmann-untitled-t13301\" title=\"View the details of this artwork\"><span>T13301</span></a>). <i>O.T. </i>stands for the German ‘ohne titel’, meaning ‘untitled’.</p>\n<p>The Perspex box is an intrinsic part of the work rather than a simple frame. The artist has frequently used mixed materials such as Styrofoam, cotton, aluminium, pigment and wood and selects them purposefully, often pairing them with a material which clashes in its chemical structure, texture or appearance. This enquiry into the investigation of the nature and potentialities of painting places Heinzmann’s practice within a cohort of contemporary German painters who work within the field of ‘expanded painting’ – that is, who question and explore what constitutes painting and what the status of a painting as an object in itself. Heinzmann’s work not only explores the medium of painting but also key moments in art history, and more specifically the history of modernism. Paintings such as <i>O.T. </i>2017 and <i>O.T. </i>2013 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/heinzmann-o-t-t15070\" title=\"View the details of this artwork\"><span>T15070</span></a>) can be seen as referring to a post-war period of painting which witnessed a rejection of the traditional conventions of the medium in favour of a move towards abstraction, both in Europe and the United States. </p>\n<p>\n<b>Further reading</b>\n<br/>Philipp Ekardt and Michael Bracewell, <i>Thilo Heinzmann</i>, Berlin 2012.<br/>Colin Perry, <i>Thilo Heinzmann</i>, <i>frieze</i>, issue 126, October 2009, <a href=\"https://frieze.com/article/thilo-heinzmann\">https://frieze.com/article/thilo-heinzmann</a>, accessed March 2018.</p>\n<p>Juliette Rizzi<br/>March 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-10-20T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Moped, palm leaves, raffia baskets, calabash gourds, seed pods, nylon bags, feathers, nylon string, hessian and horse hair	[ { "append_role_to_name": false, "date": "born 1967", "fc": "Pascale Marthine Tayou", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/pascale-marthine-tayou-12667" } ]	120,906	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	2,014	<a href="https://www.tate.org.uk/art/artists/pascale-marthine-tayou-12667" aria-label="More by Pascale Marthine Tayou" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Pascale Marthine Tayou</a>	Bend Skin Contrevents	2,018		[]	Purchased with funds provided by the Africa Acquisitions Committee and Harry and Lana David 2018	T15073	{ "id": 8, "meta": { "type": "art.Classification" } }			1088293 1001189 1000153 7001242	Pascale Marthine Tayou	2,014	[]	<p><span>Bend Skin Contrevents </span>2014 is a hanging sculptural installation weighing approximately 150–200 kilograms. At the centre of the sculpture is a moped to which woven bamboo and raffia baskets, as well as calabashes or dried gourds, have been attached. Beneath these, the back wheel and handlebars of the suspended moped are barely visible. The sculpture is completed with a horsehair tail that hangs down from the rear, without no part of the work touching the ground. <span>Bend Skin Contrevents </span>is one of a series of four hanging sculptures made in 2014 for <span>Word Share</span>, Tayou’s solo exhibition<span> </span>at the Fowler Museum in Los Angeles. Each one has a suspended moped at its centre, onto which a range of found objects – feathers, raffia, seeds, basketry and drums, for example – has been carefully attached. The titles of the other three are <span>Bend Skin Chasse Mouche, Bend Skin Calebasse </span>and <span>Bend Skin Rideau Raphia</span>.</p>	false	1	https://media.tate.org.u…T15/T15073_9.jpg	12667	sculpture moped palm leaves raffia baskets calabash gourds seed pods nylon bags feathers string hessian horse hair	[ { "artistRoomsTour": false, "dateText": "26 June 2023 – 7 July 2024", "endDate": "2024-07-07", "exhibitionLegs": [ { "dateText": "26 June 2023 – 7 July 2024", "endDate": "2024-07-07", "id": 15590, "startDate": "2023-06-26", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 12791, "startDate": "2023-06-26", "title": "Pascale Marthine Tayou", "type": "Collection based display" } ]	Bend Skin Contrevents	2,014	Tate	2014		CLEARED	8	object: 1800 × 2500 × 1900mm (measured)	accessioned work	Tate	Purchased with funds provided by the Africa Acquisitions Committee and Harry and Lana David 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Bend Skin Contrevents </i>2014 is a hanging sculptural installation weighing approximately 150–200 kilograms. At the centre of the sculpture is a moped to which woven bamboo and raffia baskets, as well as calabashes or dried gourds, have been attached. Beneath these, the back wheel and handlebars of the suspended moped are barely visible. The sculpture is completed with a horsehair tail that hangs down from the rear, without no part of the work touching the ground. <i>Bend Skin Contrevents </i>is one of a series of four hanging sculptures made in 2014 for <i>Word Share</i>, Tayou’s solo exhibition<i> </i>at the Fowler Museum in Los Angeles. Each one has a suspended moped at its centre, onto which a range of found objects – feathers, raffia, seeds, basketry and drums, for example – has been carefully attached. The titles of the other three are <i>Bend Skin Chasse Mouche, Bend Skin Calebasse </i>and <i>Bend Skin Rideau Raphia</i>.</p>\n<p>In the artist’s native Cameroon, mopeds, which have become ubiquitous modes of transport in many African cities, are known locally as ‘bend skins’. These vehicles are not only used to transport people, but are frequently laden with baskets, gourds, plastic bottles, animals and other paraphernalia that people need to transport. By almost obscuring the ‘bend skin’ mopeds at the centre of his sculptural installations, but retaining a reference to the vehicles in their titles, Tayou seeks to draw attention to the fact that the extraordinary loads threaten almost literally to bend the mopeds that support them (the artist, in email correspondence with Tate curator Kerryn Greenberg, May 2015).</p>\n<p>The use of everyday objects from Cameroon is paramount to Tayou’s creative process. Although many of his materials originate in Africa, he generally ships them to his studio in Ghent, Belgium where his works are created. <i>Bend Skin Contrevents</i> includes several baskets traditionally used to store and transport foodstuffs in Cameroon. Although these are of a similar hue to the calabashes, the contrasting textures and lattice-type effect lend the surface of the sculpture extra depth and variation. In West Africa calabashes are used to store, transport and serve food. Smaller sizes are used as drinking receptacles, while some shapes are also favoured for musical instruments and traditional rituals. The careful arrangement of the found materials in this work and the overall shape of the sculpture – with its horsehair tail – result in its resembling a large animal.</p>\n<p>Like much of Tayou’s work, <i>Bend Skin Contrevents </i>combines the spiritual and prosaic. The horsehair tail references alternative modes of transport. If the moped has become synonymous with the African city, the horse remains a symbol of the rural environment. Additionally, amongst the Bamileke in the western grasslands of Cameroon, horsehair is frequently used in traditional rites and rituals, while in the cities, like Yaoundé and Douala, the moped taxi drivers often wear horsehair amulets to protect themselves and their vehicles. <i>Bend Skin Contrevents </i>encompasses the confluence of rural and urban, traditional and contemporary. Tayou has said of these hanging sculptures, ‘<i>Bend Skin</i> is the name of this series, man in relation to his time, the centaur man, God the wind in search of his daily pittance. This work is another fetish of the contemporary global man.’ (Ibid.)</p>\n<p>\n<b>Further reading</b>\n<br/>Jacob Fabricius, Thierry Raspail, Pernille Alberthsen and Bernad Blistène. <i>Pascale Marthine Tayou, Always All Ways (Tous les chemins mènent à …)</i>, exhibition catalogue, MAC Lyon, February–May 2011.<br/>Rebecca Lewin (ed.), <i>Pascale Marthine Tayou: Boomerang</i>, exhibition catalogue, Serpentine Galleries, London 2015.</p>\n<p>Kerryn Greenberg<br/>July 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-11-14T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Crystal glass, fur, raffia and plaster	[ { "append_role_to_name": false, "date": "born 1967", "fc": "Pascale Marthine Tayou", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/pascale-marthine-tayou-12667" } ]	120,907	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	2,014	<a href="https://www.tate.org.uk/art/artists/pascale-marthine-tayou-12667" aria-label="More by Pascale Marthine Tayou" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Pascale Marthine Tayou</a>	Poupée Pascale 11	2,018		[]	Purchased with funds provided by the Africa Acquisitions Committee and Harry and Lana David 2018	T15074	{ "id": 8, "meta": { "type": "art.Classification" } }			1088293 1001189 1000153 7001242	Pascale Marthine Tayou	2,014	[]	<p>This is one of a group of five <span>Poupées Pascales</span> by Pascale Marthine Tayou in Tate’s collection, titled <span>#7</span>, <span>#</span>9, #11, #15 and #17 and dated 2013 (see Tate T15074–T15078). They are inspired by traditional African sculptures and hand-blown in crystal, which emphasises the preciousness of the figures, but also their fragility. The French title translates as ‘Pascale’s dolls’, suggesting a personal connection between the artist and each of the sculptures. In accordance with traditional African approaches of activating sculptures by adorning them with ritually significant pigments, animal claws and other objects, Tayou has embellished these crystal sculptures with materials such as chocolate, feathers, medicinal herbs, water bottles and nylon stockings – a slightly irreverent mix of materials that simultaneously refers to traditional rituals and contemporary experience. This combination of the spiritual and the prosaic is a feature of Tayou’s work, much of which is carried out on a significantly larger scale than the <span>Poupées </span>(see, for example, <span>Bend Skin Contrevents </span>2014 [Tate T15073]).</p>	false	1	https://media.tate.org.u…15/T15074_10.jpg	12667	sculpture crystal glass fur raffia plaster	[ { "artistRoomsTour": false, "dateText": "26 June 2023 – 7 July 2024", "endDate": "2024-07-07", "exhibitionLegs": [ { "dateText": "26 June 2023 – 7 July 2024", "endDate": "2024-07-07", "id": 15590, "startDate": "2023-06-26", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 12791, "startDate": "2023-06-26", "title": "Pascale Marthine Tayou", "type": "Collection based display" } ]	Poupée Pascale #11	2,014	Tate	2014		CLEARED	8	object: 535 × 265 × 310 mm	accessioned work	Tate	Purchased with funds provided by the Africa Acquisitions Committee and Harry and Lana David 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of a group of five <i>Poupées Pascales</i> by Pascale Marthine Tayou in Tate’s collection, titled <i>#7</i>, <i>#</i>9, #11, #15 and #17 and dated 2013 (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/tayou-poupee-pascale-11-t15074\" title=\"View the details of this artwork\"><span>T15074</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/tayou-poupee-pascale-07-t15078\" title=\"View the details of this artwork\"><span>T15078</span></a>). They are inspired by traditional African sculptures and hand-blown in crystal, which emphasises the preciousness of the figures, but also their fragility. The French title translates as ‘Pascale’s dolls’, suggesting a personal connection between the artist and each of the sculptures. In accordance with traditional African approaches of activating sculptures by adorning them with ritually significant pigments, animal claws and other objects, Tayou has embellished these crystal sculptures with materials such as chocolate, feathers, medicinal herbs, water bottles and nylon stockings – a slightly irreverent mix of materials that simultaneously refers to traditional rituals and contemporary experience. This combination of the spiritual and the prosaic is a feature of Tayou’s work, much of which is carried out on a significantly larger scale than the <i>Poupées </i>(see, for example, <i>Bend Skin Contrevents </i>2014 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/tayou-bend-skin-contrevents-t15073\" title=\"View the details of this artwork\"><span>T15073</span></a>]).</p>\n<p>Tayou has made numerous examples of the <i>Poupées </i>in different sizes. The ones in Tate’s collection were created for an exhibition at Galerie Cécile Fakhoury in Côte d’Ivoire, from where the artist collected many of the adornments featured in the works. The <i>Poupées Pascales</i> are generally presented in groupings on individual plinths (either fairly traditional white plinths or rough-hewn tree stumps) at different heights.</p>\n<p>Despite numerous references in his work to his country of origin, Cameroon, to the village where he was born, Nkongsamba, or to the cities where he currently lives, Ghent in Belgium and Yaoundé in Cameroon, Tayou’s interest in geography, provenance and mobility goes beyond a concern with identity. The critic Christine Antaya has described how ‘nomadism is central to the work of Pascale Marthine Tayou. Tayou’s notion of the artist as nomad is reminiscent of the Postmodernist sampler: he sees himself as a rolling stone, constantly in motion but, unlike the proverbial boulder, always accumulating parts of the places he passes through; never standing still yet productively gathering moss’.<br/>(Christine Antaya, ‘Pascale Marthine Tayou: Always All Ways [Tous les chemins mènent à …]’, <a href=\"http://21cblog.com/nomadism-is-central-to-the-work-of-pascale-marthine-tayou-tayou/\">http://21cblog.com/nomadism-is-central-to-the-work-of-pascale-marthine-tayou-tayou/</a>,<a href=\"http://www.frieze.com/shows/review/pascale_marthine_tayou/\"> frieze.com</a>, 21 June 2010.)</p>\n<p>Tayou works in a wide range of media, including photography, video, installation, performance, painting and drawing, as well as sculpture. Although his style varies enormously from work to work, his concern with history, post-colonialism and capitalism is constant. Arte povera, installation art, minimal art and traditional African art are all influences in his practice, this eclecticism being one of the essential characteristics of his output.</p>\n<p>\n<b>Further reading</b>\n<br/>Jacob Fabricius, Thierry Raspail, Pernille Alberthsen and Bernad Blistène. <i>Pascale Marthine Tayou, Always All Ways (Tous les chemins mènent à …)</i>, exhibition catalogue, MAC Lyon, February–May 2011.<br/>Rebecca Lewin (ed.), <i>Pascale Marthine Tayou: Boomerang</i>, exhibition catalogue, Serpentine Galleries, London 2015.</p>\n<p>Kerryn Greenberg<br/>July 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-10-27T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Crystal glass, plastic water bottles, water, textiles, plaster and wood	[ { "append_role_to_name": false, "date": "born 1967", "fc": "Pascale Marthine Tayou", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/pascale-marthine-tayou-12667" } ]	120,908	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	2,014	<a href="https://www.tate.org.uk/art/artists/pascale-marthine-tayou-12667" aria-label="More by Pascale Marthine Tayou" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Pascale Marthine Tayou</a>	Poupée Pascale 17	2,018		[]	Purchased with funds provided by the Africa Acquisitions Committee and Harry and Lana David 2018	T15075	{ "id": 8, "meta": { "type": "art.Classification" } }			1088293 1001189 1000153 7001242	Pascale Marthine Tayou	2,014	[]	<p>This is one of a group of five <span>Poupées Pascales</span> by Pascale Marthine Tayou in Tate’s collection, titled <span>#7</span>, <span>#</span>9, #11, #15 and #17 and dated 2013 (see Tate T15074–T15078). They are inspired by traditional African sculptures and hand-blown in crystal, which emphasises the preciousness of the figures, but also their fragility. The French title translates as ‘Pascale’s dolls’, suggesting a personal connection between the artist and each of the sculptures. In accordance with traditional African approaches of activating sculptures by adorning them with ritually significant pigments, animal claws and other objects, Tayou has embellished these crystal sculptures with materials such as chocolate, feathers, medicinal herbs, water bottles and nylon stockings – a slightly irreverent mix of materials that simultaneously refers to traditional rituals and contemporary experience. This combination of the spiritual and the prosaic is a feature of Tayou’s work, much of which is carried out on a significantly larger scale than the <span>Poupées </span>(see, for example, <span>Bend Skin Contrevents </span>2014 [Tate T15073]).</p>	false	1	https://media.tate.org.u…15/T15075_10.jpg	12667	sculpture crystal glass plastic water bottles textiles plaster wood	[ { "artistRoomsTour": false, "dateText": "26 June 2023 – 7 July 2024", "endDate": "2024-07-07", "exhibitionLegs": [ { "dateText": "26 June 2023 – 7 July 2024", "endDate": "2024-07-07", "id": 15590, "startDate": "2023-06-26", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 12791, "startDate": "2023-06-26", "title": "Pascale Marthine Tayou", "type": "Collection based display" } ]	Poupée Pascale #17	2,014	Tate	2014		CLEARED	8	object: 535 × 265 × 310 mm	accessioned work	Tate	Purchased with funds provided by the Africa Acquisitions Committee and Harry and Lana David 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of a group of five <i>Poupées Pascales</i> by Pascale Marthine Tayou in Tate’s collection, titled <i>#7</i>, <i>#</i>9, #11, #15 and #17 and dated 2013 (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/tayou-poupee-pascale-11-t15074\" title=\"View the details of this artwork\"><span>T15074</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/tayou-poupee-pascale-07-t15078\" title=\"View the details of this artwork\"><span>T15078</span></a>). They are inspired by traditional African sculptures and hand-blown in crystal, which emphasises the preciousness of the figures, but also their fragility. The French title translates as ‘Pascale’s dolls’, suggesting a personal connection between the artist and each of the sculptures. In accordance with traditional African approaches of activating sculptures by adorning them with ritually significant pigments, animal claws and other objects, Tayou has embellished these crystal sculptures with materials such as chocolate, feathers, medicinal herbs, water bottles and nylon stockings – a slightly irreverent mix of materials that simultaneously refers to traditional rituals and contemporary experience. This combination of the spiritual and the prosaic is a feature of Tayou’s work, much of which is carried out on a significantly larger scale than the <i>Poupées </i>(see, for example, <i>Bend Skin Contrevents </i>2014 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/tayou-bend-skin-contrevents-t15073\" title=\"View the details of this artwork\"><span>T15073</span></a>]).</p>\n<p>Tayou has made numerous examples of the <i>Poupées </i>in different sizes. The ones in Tate’s collection were created for an exhibition at Galerie Cécile Fakhoury in Côte d’Ivoire, from where the artist collected many of the adornments featured in the works. The <i>Poupées Pascales</i> are generally presented in groupings on individual plinths (either fairly traditional white plinths or rough-hewn tree stumps) at different heights.</p>\n<p>Despite numerous references in his work to his country of origin, Cameroon, to the village where he was born, Nkongsamba, or to the cities where he currently lives, Ghent in Belgium and Yaoundé in Cameroon, Tayou’s interest in geography, provenance and mobility goes beyond a concern with identity. The critic Christine Antaya has described how ‘nomadism is central to the work of Pascale Marthine Tayou. Tayou’s notion of the artist as nomad is reminiscent of the Postmodernist sampler: he sees himself as a rolling stone, constantly in motion but, unlike the proverbial boulder, always accumulating parts of the places he passes through; never standing still yet productively gathering moss’.<br/>(Christine Antaya, ‘Pascale Marthine Tayou: Always All Ways [Tous les chemins mènent à …]’, <a href=\"http://21cblog.com/nomadism-is-central-to-the-work-of-pascale-marthine-tayou-tayou/\">http://21cblog.com/nomadism-is-central-to-the-work-of-pascale-marthine-tayou-tayou/</a>,<a href=\"http://www.frieze.com/shows/review/pascale_marthine_tayou/\"> frieze.com</a>, 21 June 2010.)</p>\n<p>Tayou works in a wide range of media, including photography, video, installation, performance, painting and drawing, as well as sculpture. Although his style varies enormously from work to work, his concern with history, post-colonialism and capitalism is constant. Arte povera, installation art, minimal art and traditional African art are all influences in his practice, this eclecticism being one of the essential characteristics of his output.</p>\n<p>\n<b>Further reading</b>\n<br/>Jacob Fabricius, Thierry Raspail, Pernille Alberthsen and Bernad Blistène. <i>Pascale Marthine Tayou, Always All Ways (Tous les chemins mènent à …)</i>, exhibition catalogue, MAC Lyon, February–May 2011.<br/>Rebecca Lewin (ed.), <i>Pascale Marthine Tayou: Boomerang</i>, exhibition catalogue, Serpentine Galleries, London 2015.</p>\n<p>Kerryn Greenberg<br/>July 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-10-27T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Crystal glass, wood, exhaust pipe, textiles, plaster and paint	[ { "append_role_to_name": false, "date": "born 1967", "fc": "Pascale Marthine Tayou", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/pascale-marthine-tayou-12667" } ]	120,909	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	2,014	<a href="https://www.tate.org.uk/art/artists/pascale-marthine-tayou-12667" aria-label="More by Pascale Marthine Tayou" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Pascale Marthine Tayou</a>	Poupée Pascale 15	2,018		[]	Purchased with funds provided by the Africa Acquisitions Committee and Harry and Lana David 2018	T15076	{ "id": 8, "meta": { "type": "art.Classification" } }			1088293 1001189 1000153 7001242	Pascale Marthine Tayou	2,014	[]	<p>This is one of a group of five <span>Poupées Pascales</span> by Pascale Marthine Tayou in Tate’s collection, titled <span>#7</span>, <span>#</span>9, #11, #15 and #17 and dated 2013 (see Tate T15074–T15078). They are inspired by traditional African sculptures and hand-blown in crystal, which emphasises the preciousness of the figures, but also their fragility. The French title translates as ‘Pascale’s dolls’, suggesting a personal connection between the artist and each of the sculptures. In accordance with traditional African approaches of activating sculptures by adorning them with ritually significant pigments, animal claws and other objects, Tayou has embellished these crystal sculptures with materials such as chocolate, feathers, medicinal herbs, water bottles and nylon stockings – a slightly irreverent mix of materials that simultaneously refers to traditional rituals and contemporary experience. This combination of the spiritual and the prosaic is a feature of Tayou’s work, much of which is carried out on a significantly larger scale than the <span>Poupées </span>(see, for example, <span>Bend Skin Contrevents </span>2014 [Tate T15073]).</p>	false	1	https://media.tate.org.u…15/T15076_10.jpg	12667	sculpture crystal glass wood exhaust pipe textiles plaster paint	[ { "artistRoomsTour": false, "dateText": "26 June 2023 – 7 July 2024", "endDate": "2024-07-07", "exhibitionLegs": [ { "dateText": "26 June 2023 – 7 July 2024", "endDate": "2024-07-07", "id": 15590, "startDate": "2023-06-26", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 12791, "startDate": "2023-06-26", "title": "Pascale Marthine Tayou", "type": "Collection based display" } ]	Poupée Pascale #15	2,014	Tate	2014		CLEARED	8	object: 600 × 280 × 250 mm	accessioned work	Tate	Purchased with funds provided by the Africa Acquisitions Committee and Harry and Lana David 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of a group of five <i>Poupées Pascales</i> by Pascale Marthine Tayou in Tate’s collection, titled <i>#7</i>, <i>#</i>9, #11, #15 and #17 and dated 2013 (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/tayou-poupee-pascale-11-t15074\" title=\"View the details of this artwork\"><span>T15074</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/tayou-poupee-pascale-07-t15078\" title=\"View the details of this artwork\"><span>T15078</span></a>). They are inspired by traditional African sculptures and hand-blown in crystal, which emphasises the preciousness of the figures, but also their fragility. The French title translates as ‘Pascale’s dolls’, suggesting a personal connection between the artist and each of the sculptures. In accordance with traditional African approaches of activating sculptures by adorning them with ritually significant pigments, animal claws and other objects, Tayou has embellished these crystal sculptures with materials such as chocolate, feathers, medicinal herbs, water bottles and nylon stockings – a slightly irreverent mix of materials that simultaneously refers to traditional rituals and contemporary experience. This combination of the spiritual and the prosaic is a feature of Tayou’s work, much of which is carried out on a significantly larger scale than the <i>Poupées </i>(see, for example, <i>Bend Skin Contrevents </i>2014 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/tayou-bend-skin-contrevents-t15073\" title=\"View the details of this artwork\"><span>T15073</span></a>]).</p>\n<p>Tayou has made numerous examples of the <i>Poupées </i>in different sizes. The ones in Tate’s collection were created for an exhibition at Galerie Cécile Fakhoury in Côte d’Ivoire, from where the artist collected many of the adornments featured in the works. The <i>Poupées Pascales</i> are generally presented in groupings on individual plinths (either fairly traditional white plinths or rough-hewn tree stumps) at different heights.</p>\n<p>Despite numerous references in his work to his country of origin, Cameroon, to the village where he was born, Nkongsamba, or to the cities where he currently lives, Ghent in Belgium and Yaoundé in Cameroon, Tayou’s interest in geography, provenance and mobility goes beyond a concern with identity. The critic Christine Antaya has described how ‘nomadism is central to the work of Pascale Marthine Tayou. Tayou’s notion of the artist as nomad is reminiscent of the Postmodernist sampler: he sees himself as a rolling stone, constantly in motion but, unlike the proverbial boulder, always accumulating parts of the places he passes through; never standing still yet productively gathering moss’.<br/>(Christine Antaya, ‘Pascale Marthine Tayou: Always All Ways [Tous les chemins mènent à …]’, <a href=\"http://21cblog.com/nomadism-is-central-to-the-work-of-pascale-marthine-tayou-tayou/\">http://21cblog.com/nomadism-is-central-to-the-work-of-pascale-marthine-tayou-tayou/</a>,<a href=\"http://www.frieze.com/shows/review/pascale_marthine_tayou/\"> frieze.com</a>, 21 June 2010.)</p>\n<p>Tayou works in a wide range of media, including photography, video, installation, performance, painting and drawing, as well as sculpture. Although his style varies enormously from work to work, his concern with history, post-colonialism and capitalism is constant. Arte povera, installation art, minimal art and traditional African art are all influences in his practice, this eclecticism being one of the essential characteristics of his output.</p>\n<p>\n<b>Further reading</b>\n<br/>Jacob Fabricius, Thierry Raspail, Pernille Alberthsen and Bernad Blistène. <i>Pascale Marthine Tayou, Always All Ways (Tous les chemins mènent à …)</i>, exhibition catalogue, MAC Lyon, February–May 2011.<br/>Rebecca Lewin (ed.), <i>Pascale Marthine Tayou: Boomerang</i>, exhibition catalogue, Serpentine Galleries, London 2015.</p>\n<p>Kerryn Greenberg<br/>July 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-10-27T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Crystal glass, mirror glass, chocolate, textiles, plaster and other materials	[ { "append_role_to_name": false, "date": "born 1967", "fc": "Pascale Marthine Tayou", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/pascale-marthine-tayou-12667" } ]	120,910	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	2,014	<a href="https://www.tate.org.uk/art/artists/pascale-marthine-tayou-12667" aria-label="More by Pascale Marthine Tayou" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Pascale Marthine Tayou</a>	Poupée Pascale 09	2,018		[]	Purchased with funds provided by the Africa Acquisitions Committee and Harry and Lana David 2018	T15077	{ "id": 8, "meta": { "type": "art.Classification" } }			1088293 1001189 1000153 7001242	Pascale Marthine Tayou	2,014	[]	<p>This is one of a group of five <span>Poupées Pascales</span> by Pascale Marthine Tayou in Tate’s collection, titled <span>#7</span>, <span>#</span>9, #11, #15 and #17 and dated 2013 (see Tate T15074–T15078). They are inspired by traditional African sculptures and hand-blown in crystal, which emphasises the preciousness of the figures, but also their fragility. The French title translates as ‘Pascale’s dolls’, suggesting a personal connection between the artist and each of the sculptures. In accordance with traditional African approaches of activating sculptures by adorning them with ritually significant pigments, animal claws and other objects, Tayou has embellished these crystal sculptures with materials such as chocolate, feathers, medicinal herbs, water bottles and nylon stockings – a slightly irreverent mix of materials that simultaneously refers to traditional rituals and contemporary experience. This combination of the spiritual and the prosaic is a feature of Tayou’s work, much of which is carried out on a significantly larger scale than the <span>Poupées </span>(see, for example, <span>Bend Skin Contrevents </span>2014 [Tate T15073]).</p>	false	1	https://media.tate.org.u…15/T15077_10.jpg	12667	sculpture crystal glass mirror chocolate textiles plaster other materials	[ { "artistRoomsTour": false, "dateText": "26 June 2023 – 7 July 2024", "endDate": "2024-07-07", "exhibitionLegs": [ { "dateText": "26 June 2023 – 7 July 2024", "endDate": "2024-07-07", "id": 15590, "startDate": "2023-06-26", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 12791, "startDate": "2023-06-26", "title": "Pascale Marthine Tayou", "type": "Collection based display" } ]	Poupée Pascale #09	2,014	Tate	2014		CLEARED	8	object: 600 × 200 × 160 mm	accessioned work	Tate	Purchased with funds provided by the Africa Acquisitions Committee and Harry and Lana David 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of a group of five <i>Poupées Pascales</i> by Pascale Marthine Tayou in Tate’s collection, titled <i>#7</i>, <i>#</i>9, #11, #15 and #17 and dated 2013 (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/tayou-poupee-pascale-11-t15074\" title=\"View the details of this artwork\"><span>T15074</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/tayou-poupee-pascale-07-t15078\" title=\"View the details of this artwork\"><span>T15078</span></a>). They are inspired by traditional African sculptures and hand-blown in crystal, which emphasises the preciousness of the figures, but also their fragility. The French title translates as ‘Pascale’s dolls’, suggesting a personal connection between the artist and each of the sculptures. In accordance with traditional African approaches of activating sculptures by adorning them with ritually significant pigments, animal claws and other objects, Tayou has embellished these crystal sculptures with materials such as chocolate, feathers, medicinal herbs, water bottles and nylon stockings – a slightly irreverent mix of materials that simultaneously refers to traditional rituals and contemporary experience. This combination of the spiritual and the prosaic is a feature of Tayou’s work, much of which is carried out on a significantly larger scale than the <i>Poupées </i>(see, for example, <i>Bend Skin Contrevents </i>2014 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/tayou-bend-skin-contrevents-t15073\" title=\"View the details of this artwork\"><span>T15073</span></a>]).</p>\n<p>Tayou has made numerous examples of the <i>Poupées </i>in different sizes. The ones in Tate’s collection were created for an exhibition at Galerie Cécile Fakhoury in Côte d’Ivoire, from where the artist collected many of the adornments featured in the works. The <i>Poupées Pascales</i> are generally presented in groupings on individual plinths (either fairly traditional white plinths or rough-hewn tree stumps) at different heights.</p>\n<p>Despite numerous references in his work to his country of origin, Cameroon, to the village where he was born, Nkongsamba, or to the cities where he currently lives, Ghent in Belgium and Yaoundé in Cameroon, Tayou’s interest in geography, provenance and mobility goes beyond a concern with identity. The critic Christine Antaya has described how ‘nomadism is central to the work of Pascale Marthine Tayou. Tayou’s notion of the artist as nomad is reminiscent of the Postmodernist sampler: he sees himself as a rolling stone, constantly in motion but, unlike the proverbial boulder, always accumulating parts of the places he passes through; never standing still yet productively gathering moss’.<br/>(Christine Antaya, ‘Pascale Marthine Tayou: Always All Ways [Tous les chemins mènent à …]’, <a href=\"http://21cblog.com/nomadism-is-central-to-the-work-of-pascale-marthine-tayou-tayou/\">http://21cblog.com/nomadism-is-central-to-the-work-of-pascale-marthine-tayou-tayou/</a>,<a href=\"http://www.frieze.com/shows/review/pascale_marthine_tayou/\"> frieze.com</a>, 21 June 2010.)</p>\n<p>Tayou works in a wide range of media, including photography, video, installation, performance, painting and drawing, as well as sculpture. Although his style varies enormously from work to work, his concern with history, post-colonialism and capitalism is constant. Arte povera, installation art, minimal art and traditional African art are all influences in his practice, this eclecticism being one of the essential characteristics of his output.</p>\n<p>\n<b>Further reading</b>\n<br/>Jacob Fabricius, Thierry Raspail, Pernille Alberthsen and Bernad Blistène. <i>Pascale Marthine Tayou, Always All Ways (Tous les chemins mènent à …)</i>, exhibition catalogue, MAC Lyon, February–May 2011.<br/>Rebecca Lewin (ed.), <i>Pascale Marthine Tayou: Boomerang</i>, exhibition catalogue, Serpentine Galleries, London 2015.</p>\n<p>Kerryn Greenberg<br/>July 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-10-27T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Crystal glass, herbs, clay, feathers, plaster and wood	[ { "append_role_to_name": false, "date": "born 1967", "fc": "Pascale Marthine Tayou", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/pascale-marthine-tayou-12667" } ]	120,911	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	2,014	<a href="https://www.tate.org.uk/art/artists/pascale-marthine-tayou-12667" aria-label="More by Pascale Marthine Tayou" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Pascale Marthine Tayou</a>	Poupée Pascale 07	2,018		[]	Purchased with funds provided by the Africa Acquisitions Committee and Harry and Lana David 2018	T15078	{ "id": 8, "meta": { "type": "art.Classification" } }			1088293 1001189 1000153 7001242	Pascale Marthine Tayou	2,014	[]	<p>This is one of a group of five <span>Poupées Pascales</span> by Pascale Marthine Tayou in Tate’s collection, titled <span>#7</span>, <span>#</span>9, #11, #15 and #17 and dated 2013 (see Tate T15074–T15078). They are inspired by traditional African sculptures and hand-blown in crystal, which emphasises the preciousness of the figures, but also their fragility. The French title translates as ‘Pascale’s dolls’, suggesting a personal connection between the artist and each of the sculptures. In accordance with traditional African approaches of activating sculptures by adorning them with ritually significant pigments, animal claws and other objects, Tayou has embellished these crystal sculptures with materials such as chocolate, feathers, medicinal herbs, water bottles and nylon stockings – a slightly irreverent mix of materials that simultaneously refers to traditional rituals and contemporary experience. This combination of the spiritual and the prosaic is a feature of Tayou’s work, much of which is carried out on a significantly larger scale than the <span>Poupées </span>(see, for example, <span>Bend Skin Contrevents </span>2014 [Tate T15073]).</p>	false	1	https://media.tate.org.u…15/T15078_10.jpg	12667	sculpture crystal glass herbs clay feathers plaster wood	[ { "artistRoomsTour": false, "dateText": "26 June 2023 – 7 July 2024", "endDate": "2024-07-07", "exhibitionLegs": [ { "dateText": "26 June 2023 – 7 July 2024", "endDate": "2024-07-07", "id": 15590, "startDate": "2023-06-26", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 12791, "startDate": "2023-06-26", "title": "Pascale Marthine Tayou", "type": "Collection based display" } ]	Poupée Pascale #07	2,014	Tate	2014		CLEARED	8	object: 610 × 230 × 280 mm	accessioned work	Tate	Purchased with funds provided by the Africa Acquisitions Committee and Harry and Lana David 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of a group of five <i>Poupées Pascales</i> by Pascale Marthine Tayou in Tate’s collection, titled <i>#7</i>, <i>#</i>9, #11, #15 and #17 and dated 2013 (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/tayou-poupee-pascale-11-t15074\" title=\"View the details of this artwork\"><span>T15074</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/tayou-poupee-pascale-07-t15078\" title=\"View the details of this artwork\"><span>T15078</span></a>). They are inspired by traditional African sculptures and hand-blown in crystal, which emphasises the preciousness of the figures, but also their fragility. The French title translates as ‘Pascale’s dolls’, suggesting a personal connection between the artist and each of the sculptures. In accordance with traditional African approaches of activating sculptures by adorning them with ritually significant pigments, animal claws and other objects, Tayou has embellished these crystal sculptures with materials such as chocolate, feathers, medicinal herbs, water bottles and nylon stockings – a slightly irreverent mix of materials that simultaneously refers to traditional rituals and contemporary experience. This combination of the spiritual and the prosaic is a feature of Tayou’s work, much of which is carried out on a significantly larger scale than the <i>Poupées </i>(see, for example, <i>Bend Skin Contrevents </i>2014 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/tayou-bend-skin-contrevents-t15073\" title=\"View the details of this artwork\"><span>T15073</span></a>]).</p>\n<p>Tayou has made numerous examples of the <i>Poupées </i>in different sizes. The ones in Tate’s collection were created for an exhibition at Galerie Cécile Fakhoury in Côte d’Ivoire, from where the artist collected many of the adornments featured in the works. The <i>Poupées Pascales</i> are generally presented in groupings on individual plinths (either fairly traditional white plinths or rough-hewn tree stumps) at different heights.</p>\n<p>Despite numerous references in his work to his country of origin, Cameroon, to the village where he was born, Nkongsamba, or to the cities where he currently lives, Ghent in Belgium and Yaoundé in Cameroon, Tayou’s interest in geography, provenance and mobility goes beyond a concern with identity. The critic Christine Antaya has described how ‘nomadism is central to the work of Pascale Marthine Tayou. Tayou’s notion of the artist as nomad is reminiscent of the Postmodernist sampler: he sees himself as a rolling stone, constantly in motion but, unlike the proverbial boulder, always accumulating parts of the places he passes through; never standing still yet productively gathering moss’.<br/>(Christine Antaya, ‘Pascale Marthine Tayou: Always All Ways [Tous les chemins mènent à …]’, <a href=\"http://21cblog.com/nomadism-is-central-to-the-work-of-pascale-marthine-tayou-tayou/\">http://21cblog.com/nomadism-is-central-to-the-work-of-pascale-marthine-tayou-tayou/</a>,<a href=\"http://www.frieze.com/shows/review/pascale_marthine_tayou/\"> frieze.com</a>, 21 June 2010.)</p>\n<p>Tayou works in a wide range of media, including photography, video, installation, performance, painting and drawing, as well as sculpture. Although his style varies enormously from work to work, his concern with history, post-colonialism and capitalism is constant. Arte povera, installation art, minimal art and traditional African art are all influences in his practice, this eclecticism being one of the essential characteristics of his output.</p>\n<p>\n<b>Further reading</b>\n<br/>Jacob Fabricius, Thierry Raspail, Pernille Alberthsen and Bernad Blistène. <i>Pascale Marthine Tayou, Always All Ways (Tous les chemins mènent à …)</i>, exhibition catalogue, MAC Lyon, February–May 2011.<br/>Rebecca Lewin (ed.), <i>Pascale Marthine Tayou: Boomerang</i>, exhibition catalogue, Serpentine Galleries, London 2015.</p>\n<p>Kerryn Greenberg<br/>July 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-10-27T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Video, projection or monitor, colour and sound (mono)	[ { "append_role_to_name": false, "date": "born 1953", "fc": "Penny Siopis", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/penny-siopis-25738" } ]	120,912	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	2,010	<a href="https://www.tate.org.uk/art/artists/penny-siopis-25738" aria-label="More by Penny Siopis" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Penny Siopis</a>	Obscure White Messenger	2,018		[]	Presented by Emile Stipp 2017	T15079	{ "id": 10, "meta": { "type": "art.Classification" } }			7017577 1000193 7001242	Penny Siopis	2,010	[]	<p>In <span>Obscure White Messenger</span> 2010 Penny Siopis combines soft focus, colour home-movie footage from the 1950s and 1960s with interview transcripts in order to explore the mind of Dimitrios Tsafendas, the man who succeeded in assassinating South African Prime Minister Hendrik Verwoerd – the architect of apartheid – in 1966, six years after the unsuccessful attempt on his life by David Pratt, the subject of the artist’s later film, <span>The Master is Drowning </span>2012 (Tate T15080). Interweaving text, sound and found footage, Siopis reveals the political frustrations and mental instability which led Tsafendas to murder, evoking a dreamy state that mirrors the nebulousness of both history and sanity. Siopis questions the relationship between race, citizenship and legitimacy in apartheid South Africa, issues that plagued Tsafendas who was an illegal immigrant of mixed-race who had slipped through the apartheid system and gained access to the highest levels of government in his role as an official parliamentary messenger. Tsafendas was born in Lourenço Marques (present day Maputo) to a Greek father and Mozambican mother who worked in his father’s household as a domestic labourer. Being mixed-race and stateless in apartheid South Africa meant he never quite belonged anywhere.</p>	false	1	https://media.tate.org.u…T15/T15079_9.jpg	25738	time-based media video projection or monitor colour sound mono	[ { "artistRoomsTour": false, "dateText": "19 November 2018 – 1 December 2019", "endDate": "2019-12-01", "exhibitionLegs": [ { "dateText": "19 November 2018 – 1 December 2019", "endDate": "2019-12-01", "id": 12636, "startDate": "2018-11-19", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 10418, "startDate": "2018-11-19", "title": "Penny Siopis", "type": "Collection based display" } ]	Obscure White Messenger	2,010	Tate	2010		CLEARED	10	duration: 15min, 7sec	accessioned work	Tate	Presented by Emile Stipp 2017	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>In <i>Obscure White Messenger</i> 2010 Penny Siopis combines soft focus, colour home-movie footage from the 1950s and 1960s with interview transcripts in order to explore the mind of Dimitrios Tsafendas, the man who succeeded in assassinating South African Prime Minister Hendrik Verwoerd – the architect of apartheid – in 1966, six years after the unsuccessful attempt on his life by David Pratt, the subject of the artist’s later film, <i>The Master is Drowning </i>2012 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/siopis-the-master-is-drowning-t15080\" title=\"View the details of this artwork\"><span>T15080</span></a>). Interweaving text, sound and found footage, Siopis reveals the political frustrations and mental instability which led Tsafendas to murder, evoking a dreamy state that mirrors the nebulousness of both history and sanity. Siopis questions the relationship between race, citizenship and legitimacy in apartheid South Africa, issues that plagued Tsafendas who was an illegal immigrant of mixed-race who had slipped through the apartheid system and gained access to the highest levels of government in his role as an official parliamentary messenger. Tsafendas was born in Lourenço Marques (present day Maputo) to a Greek father and Mozambican mother who worked in his father’s household as a domestic labourer. Being mixed-race and stateless in apartheid South Africa meant he never quite belonged anywhere.</p>\n<p>The film, which lasts just over fifteen minutes, opens with footage of an octopus swimming in an aquarium. A written narrative appears at the bottom of the screen in thin white typeface. This begins with a question: ‘Can you remember what happened?’ ‘I don’t remember what happened, but yes I did stab him,’ comes the reply. As the interchange unfolds, the interviewer probes Tsafendas about his race, his lack of national identity and his tendency to hallucinate. All the while, the video footage shows people fishing and playing games, ships rocking on the ocean, and the octopus pressing its suction cups against the glass. Yet, for Tsafendas, there has been no play, no escape; the footage is in studied contrast to the misery of his life, but also a window into his frequent changes in scenery and his sense of displacement. Formally and conceptually,<i> Obscure White Messenger </i>is characteristic of Siopis’s work in film, which she has described as follows:<i> ‘</i>My interest is in combining sequences of found 8mm film with sound and text (appearing as subtitles) to shape stories about people caught up, often traumatically, in larger political and social upheavals. The elemental qualities of these stories appeal to me as they speak to questions far beyond their specific historical origins.’(Quoted at <a href=\"http://www.artprojx.com/penny_siopis_frieze_2012.html\">http://www.artprojx.com/penny_siopis_frieze_2012.html</a>, accessed 26 September 2017.)</p>\n<p>Regarding the title of this work, Siopis has written that, ‘It was in fact Nelson Mandela who called [Tsafendas] “that obscure white parliamentary messenger” … Mandela was keen to distance the ANC from political assassinations. In his keenness, he misidentified Tsafendas – he wasn’t white, and his job as a parliamentary messenger was a mistake. Tsafendas’s life was a series of mistakes.’ (In Olivier 2015, p.201.)</p>\n<p>\n<i>Obscure White Messenger </i>can be shown either as a projection or on a monitor. Tate’s copy is an artist’s proof aside from the main edition of three.</p>\n<p>\n<b>Further reading</b>\n<br/>T.J. Demos,<i> </i>‘Penny Siopis’s Film Fables’, in Gerrit Olivier (ed.), <i>Penny Siopis: Time and Again</i>, Johannesburg 2015, pp.208–16.<br/>Gerrit Olivier, ‘Penny Siopis in Conversation with Gerrit Olivier: Video Stories’, in Gerrit Olivier (ed.), <i>Penny Siopis: Time and Again</i>, Johannesburg 2015, pp.199–207.</p>\n<p>Emma Lewis<br/>June 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-11-24T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Video, projection or monitor, colour and sound (mono)	[ { "append_role_to_name": false, "date": "born 1953", "fc": "Penny Siopis", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/penny-siopis-25738" } ]	120,913	[ { "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/penny-siopis-25738" aria-label="More by Penny Siopis" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Penny Siopis</a>	Master is Drowning	2,018		[]	Presented by Emile Stipp 2017	T15080	{ "id": 10, "meta": { "type": "art.Classification" } }			7017577 1000193 7001242	Penny Siopis	2,012	[]	<p><span>The Master is Drowning</span> 2012 is a film with sound in which Siopis examines David Beresford Pratt’s unsuccessful attempt on the life of South African Prime Minister Hendrik Verwoerd – the architect of apartheid – in 1960, six years prior to his murder by Dmitri Tsafendas, the subject of the artist’s earlier film, <span>Obscure White Messenger </span>2010 (Tate T15079). Siopis pairs text from transcripts of Pratt’s trial with found footage of daily life in 1950s and 1960s South Africa, allowing viewers to use their imaginations to map Pratt’s descriptions onto the images projected. Formally and conceptually,<span> The Master is Drowning</span> is characteristic of Siopis’s work in moving image, which she has described as follows:<span> ‘</span>My interest is in combining sequences of found 8mm film with sound and text (appearing as subtitles) to shape stories about people caught up, often traumatically, in larger political and social upheavals. The elemental qualities of these stories appeal to me as they speak to questions far beyond their specific historical origins.’ (Quoted at http://www.artprojx.com/penny_siopis_frieze_2012.html, accessed 26 September 2017.)</p>	false	1	https://media.tate.org.u…T15/T15080_9.jpg	25738	time-based media video projection or monitor colour sound mono	[]	The Master is Drowning	2,012	Tate	2012		CLEARED	10	duration: 10min, 25sec	accessioned work	Tate	Presented by Emile Stipp 2017	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>The Master is Drowning</i> 2012 is a film with sound in which Siopis examines David Beresford Pratt’s unsuccessful attempt on the life of South African Prime Minister Hendrik Verwoerd – the architect of apartheid – in 1960, six years prior to his murder by Dmitri Tsafendas, the subject of the artist’s earlier film, <i>Obscure White Messenger </i>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/siopis-obscure-white-messenger-t15079\" title=\"View the details of this artwork\"><span>T15079</span></a>). Siopis pairs text from transcripts of Pratt’s trial with found footage of daily life in 1950s and 1960s South Africa, allowing viewers to use their imaginations to map Pratt’s descriptions onto the images projected. Formally and conceptually,<i> The Master is Drowning</i> is characteristic of Siopis’s work in moving image, which she has described as follows:<i> ‘</i>My interest is in combining sequences of found 8mm film with sound and text (appearing as subtitles) to shape stories about people caught up, often traumatically, in larger political and social upheavals. The elemental qualities of these stories appeal to me as they speak to questions far beyond their specific historical origins.’ (Quoted at <a href=\"http://www.artprojx.com/penny_siopis_frieze_2012.html\">http://www.artprojx.com/penny_siopis_frieze_2012.html</a>, accessed 26 September 2017.)</p>\n<p>\n<i>The Master is Drowning</i> marks an important shift in Siopis’s video practice as she began supplementing her usual 8mm and 16mm found footage with historical documentary footage, resulting in a montage piece that straddles the line between fact and fiction. In this context, Pratt proves a particularly apt subject for Siopis given that he suffered from delusions of grandeur. His struggles to delineate the reality in his mind from the reality around him parallel Siopis’s own style, which blurs the boundaries of reality for her viewers. Pratt’s opening comments on his love for the music of Frédéric Chopin give way to his description of his experience of having an epileptic fit in the sea, as a song captioned ‘The Master is Drowning’ plays and a white man’s body swims across the screen. The film swings rapidly from moments of euphoria, paired with lighthearted music and video of anonymous Black children dancing on the grass barefoot and cliff-divers flinging themselves into the sea, to utter despair, matched by images of white men shooting guns. The video footage is accompanied by a transcript in which Pratt describes his strained relationship with his family and how he ‘felt guilt for everything going wrong in South Africa’. The film concludes with documentary footage of a speech by Prime Minister Verwoerd, intercut with video of white people applauding and marching, and then video of the bloodied Verwoed during the aftermath of Pratt’s attack. </p>\n<p>The work, which lasts just under ten and a half minutes, can be shown either as a projection or on a monitor. It exists in an edition of three plus one artist’s proof; Tate’s copy is number two in the edition.</p>\n<p>\n<b>Further reading</b>\n<br/>T.J. Demos,<i> </i>‘Penny Siopis’s Film Fables’, in Gerrit Olivier (ed.), <i>Penny Siopis: Time and Again</i>, Johannesburg 2015, pp.208–16.<br/>Gerrit Olivier, ‘Penny Siopis in Conversation with Gerrit Olivier: Video Stories’, in Gerrit Olivier (ed.), <i>Penny Siopis: Time and Again</i>, Johannesburg 2015, pp.199–207.</p>\n<p>Emma Lewis<br/>June 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-11-24T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Powder-coated aluminium, steel, plastic, led lights and nylon	[ { "append_role_to_name": false, "date": "born 1971", "fc": "Haegue Yang", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/haegue-yang-16780" } ]	120,914	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	2,015	<a href="https://www.tate.org.uk/art/artists/haegue-yang-16780" aria-label="More by Haegue Yang" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Haegue Yang</a>	Sol LeWitt Upside Down Structure with Three Towers Expanded 23 Times Split in Three	2,018		[]	Purchased with funds provided by the Asia-Pacific Acquisitions Committee and Kyung-soo Huh, Sung-Moon Kwon, Tae Won Hahn and Byucksan Foundation 2018	T15081	{ "id": 3, "meta": { "type": "art.Classification" } }			7002223 7001325 7000299 1000004	Haegue Yang	2,015	[]	<p><span>Sol LeWitt Upside Down – Structure with Three Towers, Expanded 23 Times, Split in Three </span>2015<span> </span>is a large-scale modular installation comprised of over 500 aluminium Venetian blinds. The work directly references <span>Structure with Three Towers </span>1986 by American artist Sol LeWitt (1928–2007), one of the leading figures of minimalism and a pioneer of conceptual art. In Yang’s piece, the open-form cubes of LeWitt’s original work have been replaced by horizontally overlaid rows of venetian blinds. As the title indicates, the overall structure has been magnified twenty-three times to scale, divided into three parts and suspended upside down from the ceiling.</p>	false	1	https://media.tate.org.u…15/T15081_10.jpg	16780	installation powder-coated aluminium steel plastic led lights nylon	[ { "artistRoomsTour": false, "dateText": "10 December 2018", "endDate": null, "exhibitionLegs": [ { "dateText": "10 December 2018", "endDate": null, "id": 12644, "startDate": "2018-12-10", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 10426, "startDate": "2018-12-10", "title": "Haegue Yang", "type": "Collection based display" } ]	Sol LeWitt Upside Down - Structure with Three Towers, Expanded 23 Times, Split in Three	2,015	Tate	2015		CLEARED	3	Overall display dimensions variable	accessioned work	Tate	Purchased with funds provided by the Asia-Pacific Acquisitions Committee and Kyung-soo Huh, Sung-Moon Kwon, Tae Won Hahn and Byucksan Foundation 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Sol LeWitt Upside Down – Structure with Three Towers, Expanded 23 Times, Split in Three </i>2015<i> </i>is a large-scale modular installation comprised of over 500 aluminium Venetian blinds. The work directly references <i>Structure with Three Towers </i>1986 by American artist Sol LeWitt (1928–2007), one of the leading figures of minimalism and a pioneer of conceptual art. In Yang’s piece, the open-form cubes of LeWitt’s original work have been replaced by horizontally overlaid rows of venetian blinds. As the title indicates, the overall structure has been magnified twenty-three times to scale, divided into three parts and suspended upside down from the ceiling.</p>\n<p>This monumental installation offers a prime example of Yang’s ongoing exploration of abstract forms and systematic repetition, as well as of the notion of transfiguration from the banal and ordinary (in the use of everyday objects like blinds) to the artistic and noteworthy. Since 2006 Yang has used customised Venetian blinds to create multi-sensorial environments that are ruminations on dislocation and place. As one of her signature materials, she has developed increasingly ambitious and nuanced installations using the blinds to create bold spatial and experiential interventions. In <i>Sol LeWitt Upside Down</i>, the material creates layers and distinct groupings that appear different as the viewer moves around the installation, oscillating between a collection of familiar objects and a minimalist composition of forms. Yang sees this piece as an investigation of the nature of abstraction – one that links LeWitt’s practice with her own interests in form, space and conceptual notions of authority and authorship.</p>\n<p>\n<i>Sol Lewitt Upside Down </i>was first exhibited in Yang’s solo presentation at Leeum, Samsung Museum of Art, Seoul in 2015. Tate’s work is a variation which was shown at the 13th Lyon Biennial in 2015 – at which point Yang split the work into three individual forms and added geometric arrangements of fluorescent lights along the tops of the towers. It was also exhibited in the <i>Unlimited</i> section of Art Basel in 2016.</p>\n<p>One of the leading artists of her generation in South Korea, Haegue Yang works across a wide range of media, from collage to installation to performance. She typically employs everyday materials such as Venetian blinds, domestic appliances, furniture and light bulbs to create abstract compositions and narratives that respond to, and redefine, given spaces. Yang’s multisensory environments become meditations on labour politics, borders, emotional connection and alienation, filled with references to various moments of abstraction throughout art history.</p>\n<p>\n<b>Further reading</b>\n<br/>Nicolas Garait (ed.),<i> 13th Lyon Biennale – Modern Life</i>, exhibition catalogue, Lyon Biennale 2015.<br/>Doryun Chong, Pauline J. Yao and Haegue Yang (eds.),<i> The Malady of Death by Marguerite Duras</i>, Hong Kong 2015.</p>\n<p>Clara Kim<br/>July 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-11-24T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Diptych, gouache on paper	[ { "append_role_to_name": false, "date": "1911–2010", "fc": "Louise Bourgeois", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/louise-bourgeois-2351" } ]	120,926	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999784, "shortTitle": "Works on loan" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	2,008	<a href="https://www.tate.org.uk/art/artists/louise-bourgeois-2351" aria-label="More by Louise Bourgeois" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Louise Bourgeois</a>	Friendly Landscape	2,018		[]	Presented by the Tate Americas Foundation, courtesy of The Easton Foundation 2016	T15082	{ "id": 5, "meta": { "type": "art.Classification" } }			7008038 7002980 7002883 1000070 7007567 1002551 7007568 7012149	Louise Bourgeois	2,008	[]		false	1	https://media.tate.org.u…T15/T15082_8.jpg	2351	paper unique diptych gouache	[ { "artistRoomsTour": false, "dateText": "16 June 2014 – 12 April 2015", "endDate": "2015-04-12", "exhibitionLegs": [ { "dateText": "16 June 2014 – 12 April 2015", "endDate": "2015-04-12", "id": 8684, "startDate": "2014-06-16", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 7124, "startDate": "2014-06-16", "title": "Louise Bourgeois Drawings", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "5 November 2016 – 31 August 2025", "endDate": "2025-08-31", "exhibitionLegs": [ { "dateText": "5 November 2016 – 5 February 2017", "endDate": "2017-02-05", "id": 9876, "startDate": "2016-11-05", "venueName": "Art Gallery of New South Wales (Sydney, Australia)", "venueWebsiteUrl": "http://www.artgallery.nsw.gov.au" }, { "dateText": "18 March 2017 – 16 July 2017", "endDate": "2017-07-16", "id": 10083, "startDate": "2017-03-18", "venueName": "Auckland Art Gallery (Auckland, New Zealand)", "venueWebsiteUrl": null }, { "dateText": "11 August 2017 – 4 February 2018", "endDate": "2018-02-04", "id": 10738, "startDate": "2017-08-11", "venueName": "Seoul Olympic Museum of Art (Seoul, South Korea)", "venueWebsiteUrl": null }, { "dateText": "24 March 2018 – 24 June 2018", "endDate": "2018-06-24", "id": 10739, "startDate": "2018-03-24", "venueName": "Yokohama Museum of Art (Yokohama, Japan)", "venueWebsiteUrl": null }, { "dateText": "13 July 2018 – 28 October 2018", "endDate": "2018-10-28", "id": 11700, "startDate": "2018-07-13", "venueName": "Kaohsiung Museum of Fine Arts (Kaohsiung, Taiwan)", "venueWebsiteUrl": null } ], "id": 8136, "startDate": "2016-11-05", "title": "Nude: art from the Tate collection", "type": "Tate partnerships & programmes" }, { "artistRoomsTour": false, "dateText": "6 July 2021 – 16 January 2022", "endDate": "2022-01-16", "exhibitionLegs": [ { "dateText": "6 July 2021 – 16 January 2022", "endDate": "2022-01-16", "id": 13772, "startDate": "2021-07-06", "venueName": "Tate Liverpool (Liverpool, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/liverpool/" } ], "id": 11378, "startDate": "2021-07-06", "title": "ARTIST ROOMS Louise Bourgeois", "type": "Collection based display" }, { "artistRoomsTour": true, "dateText": "23 July 2022 – 6 October 2024", "endDate": "2024-10-06", "exhibitionLegs": [ { "dateText": "6 July 2024 – 6 October 2024", "endDate": "2024-10-06", "id": 15434, "startDate": "2024-07-06", "venueName": "Compton Verney (Compton Verney, UK)", "venueWebsiteUrl": null } ], "id": 12293, "startDate": "2022-07-23", "title": "Louise Bourgeois", "type": "Loan-out" } ]	The Friendly Landscape	2,008	Tate	2008		CLEARED	5	frame: 688 × 990 × 36 mm support, each: 607 × 453 mm	accessioned work	Tate	Presented by the Tate Americas Foundation, courtesy of The Easton Foundation 2016	[]	[]	null	true		false		artwork
Oil and acrylic paint on canvas	[ { "append_role_to_name": false, "date": "born 1963", "fc": "Fiona Rae", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/fiona-rae-2287" } ]	120,927	[ { "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/fiona-rae-2287" aria-label="More by Fiona Rae" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Fiona Rae</a>	Maybe you can live on moon in next century	2,018		[]	Presented by the artist in honour of Sir Nicholas Serota 2018	T15083	{ "id": 6, "meta": { "type": "art.Classification" } }			7004541 7004543 7018484 7004542 1000111 1000004	Fiona Rae	2,009	[]	<p>Rae’s work treads a line between personal expression and quoting from wide-ranging cultural sources. Her energetic, mostly abstract works are laced with humour and playfulness. This painting combines expressive mark making with what looks like digital imagery. Explaining why she includes stencilled pandas, hearts and stars, she says: ‘They’re quite personal and have something to do with finding a way to live with authority. They puncture the authority of the gestural brushmarks and the grand tradition of modernist painting.’</p><p><em>Gallery label, May 2019</em></p>	false	1	https://media.tate.org.u…15/T15083_10.jpg	2287	painting oil acrylic paint canvas	[ { "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" } ]	Maybe you can live on the moon in the next century	2,009	Tate	2009		CLEARED	6	support: 1833 × 1500 mm	accessioned work	Tate	Presented by the artist in honour of Sir Nicholas Serota 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Maybe you can live on the moon in the next century</i> 2009 is a portrait-format abstract painting in oil and acrylic on canvas. Against a dark ground, a light blue angular branching pattern stretches out from the lower left corner over much of the left side of the canvas. Overlaying this is a network of curvilinear black hard-edged brush strokes which provides the ground for a virtuoso range of predominantly peppermint, lilac, pink and yellow brown gestural marks – in different widths and character, often mixing colours in the same stroke. Drips caused by over-thinned paint run down the canvas, elsewhere blue droplet shapes are outlined in black; painted star and heart shapes and black and white pandas sprinkle the canvas.</p>\n<p>\n<i>Maybe you can live on the moon in the next century</i> was used as the cover image (and title) for Rae’s survey exhibition of this period of her work at Leeds City Art Gallery in 2012. Its dark ground creates a depthless quasi-digital space and imagery that appears synthetic – the branch like forms in their jolting line look like elements of digital ice crystals; to the bottom edge of the painting and the left edge are areas of blur – a loss of space that anachronistically includes paint splatter and nearby stencilled stars – all elements that have not just a separate spatial existence but also different signifying intentions. Distributed around the painting are small blue liquid-like shapes bordered in black that are both interruption to the ground – a view through – but also sit on top of it. The different registers in which the painting is made become its subject, exemplified by the runs of thinned paint over the top section that just exist as a screen, and elsewhere which seem to have emanated, impossibly, from tightly scripted knots of paint all being juxtaposed to stencilled pandas, hearts and stars. These offer a stumbling block or interruption to the painting that is more than just a formalist device, as Rae has explained: ‘They’re quite personal and have something to do with finding a way to live with authority. They puncture the authority of the gestural brushmarks and the grand tradition of modernist painting.’ (Fiona Rae, quoted in Dave Hickey, ‘Fiona Rae: Good after Good’, in <i>Fiona Rae, You are the Young and Hopeless</i>, exhibition catalogue, Pace Wildenstein, New York 2006, p.7.)</p>\n<p>Throughout the 1990s – in works such as <i>Untitled (yellow) </i>1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/rae-untitled-yellow-t06482\" title=\"View the details of this artwork\"><span>T06482</span></a>) and <i>Untitled (grey and brown) </i>1991 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/rae-untitled-grey-and-brown-t06481\" title=\"View the details of this artwork\"><span>T06481</span></a>) – she had gathered together a hybrid set of painterly, modernist, stylistic signs derived from abstract expressionism to pop art, that were employed often in a disjunctive manner that emphasised the painting’s artificiality and reality. The essential truth of a brushstroke representing itself and something else has always remained a starting point for her work, as has the fluctuating understanding of ‘figure’ and ‘ground’. In 2000, however, she began to work from new starting points based on computer-generated imagery of numbers and other graphic signs, manipulated through Photoshop, which, in fragment suggest signage from the Far East. These were then painted and provided a basis for improvisation.</p>\n<p>By 2005 Rae’s paintings had moved forward again, retaining a painted digital imagery that is then layered with marks of painting – drips, runs, smears, different kinds of brush stroke – sometimes single colour, more often multi-coloured. They describe marks but also float free of space, though sometimes knot-form brushstrokes exist in their own description of space. Stencilled imagery, such as the pandas in this work from 2009, is distributed to offer another level of punctuation to the composition and its spatiality. Paintings such as these flirted with ideas of kitsch – a recurring theme for Rae, who draws on a huge range of cultural reference not for its sense of exotic otherness but rather as a cut-and-paste narrative of placelessness. Her canvases tread a line between personal expression, quotation and appropriation, pushing abstract painting towards figuration, while also exploring cultural identity, digital processes and contemporary imagery.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Fiona Rae</i>, exhibition catalogue, Carré d’Art, Nimes 2002.<br/>\n<i>Fiona Rae: Maybe you can live on the moon in the next century</i>, exhibition catalogue, Leeds City Art Gallery 2012.</p>\n<p>Andrew Wilson<br/>May 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-01-23T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Rae’s work treads a line between personal expression and quoting from wide-ranging cultural sources. Her energetic, mostly abstract works are laced with humour and playfulness. This painting combines expressive mark making with what looks like digital imagery. Explaining why she includes stencilled pandas, hearts and stars, she says: ‘They’re quite personal and have something to do with finding a way to live with authority. They puncture the authority of the gestural brushmarks and the grand tradition of modernist painting.’</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2019-05-08T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]	[]	null	false		false		artwork
Oil and acrylic paint on canvas	[ { "append_role_to_name": false, "date": "born 1963", "fc": "Fiona Rae", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/fiona-rae-2287" } ]	120,928	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	2,014	<a href="https://www.tate.org.uk/art/artists/fiona-rae-2287" aria-label="More by Fiona Rae" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Fiona Rae</a>	Figure 1g	2,018		[]	Purchased with funds provided by the Denise Coates Foundation on the occasion of the 2018 centenary of women gaining the right to vote in Britain 2018	T15084	{ "id": 6, "meta": { "type": "art.Classification" } }			7004541 7004543 7018484 7004542 1000111 1000004	Fiona Rae	2,014	[]	<p><span>Figure 1g</span> 2014 is a portrait-format abstract painting in oil and acrylic on canvas. The work is painted in blacks, greys and white and forms part of the series described by Rae as the <span>Greyscale</span> paintings due to their lack of colour. Over a grey ground, individual looping and curvilinear strokes move over the central vertical area of the canvas with shorter smaller strokes reaching around the edges. A succession of areas of cloud-like or powder puff forms explode across the composition, creating images that seem out of focus or blurred. The overall effect is one of energy and movement.</p>	false	1	https://media.tate.org.u…15/T15084_10.jpg	2287	painting oil acrylic paint canvas	[]	Figure 1g	2,014	Tate	2014		CLEARED	6	support: 1833 × 1297 mm	accessioned work	Tate	Purchased with funds provided by the Denise Coates Foundation on the occasion of the 2018 centenary of women gaining the right to vote in Britain 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Figure 1g</i> 2014 is a portrait-format abstract painting in oil and acrylic on canvas. The work is painted in blacks, greys and white and forms part of the series described by Rae as the <i>Greyscale</i> paintings due to their lack of colour. Over a grey ground, individual looping and curvilinear strokes move over the central vertical area of the canvas with shorter smaller strokes reaching around the edges. A succession of areas of cloud-like or powder puff forms explode across the composition, creating images that seem out of focus or blurred. The overall effect is one of energy and movement. </p>\n<p>Throughout the 1990s – in works such as <i>Untitled (yellow) </i>1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/rae-untitled-yellow-t06482\" title=\"View the details of this artwork\"><span>T06482</span></a>) and <i>Untitled (grey and brown) </i>1991 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/rae-untitled-grey-and-brown-t06481\" title=\"View the details of this artwork\"><span>T06481</span></a>) – she had gathered together a hybrid set of painterly, modernist, stylistic signs derived from abstract expressionism to pop art, that were employed often in a disjunctive manner that emphasised the painting’s artificiality and reality. The essential truth of a brushstroke representing itself and something else has always remained a starting point for her work, as has the fluctuating understanding of ‘figure’ and ‘ground’. In 2000, however, she began to work from new starting points based on computer-generated imagery of numbers and other graphic signs, manipulated through Photoshop, which, in fragment suggest signage from the Far East. These were then painted and provided a basis for improvisation. </p>\n<p>By 2005 Rae’s paintings had moved forward again, retaining a painted digital imagery that is then layered with marks of painting – drips, runs, smears, different kinds of brush stroke – sometimes single colour, more often multi-coloured. They describe marks but also float free of space, though sometimes knot-form brushstrokes exist in their own description of space. Paintings such as these flirted with ideas of kitsch – a recurring theme for Rae, who draws on a huge range of cultural reference not for its sense of exotic otherness but rather as a cut-and-paste narrative of placelessness. Her canvases tread a line between personal expression, quotation and appropriation, pushing abstract painting towards figuration, while also exploring cultural identity, digital processes and contemporary imagery. </p>\n<p>In 2014 she initiated a sequence of charcoal drawings that led to the <i>Greyscale</i> series of which <i>Fig 1g</i> is one example. Where previously the compositional structure of her painting ranged across the canvas, paying particular attention to the edges, the composition of most of the <i>Greyscale</i> paintings is centrally defined. This was partially a result of Rae’s adoption of a new portrait-format canvas, narrower than any she had used before, which enabled her to maintain control over the painting from a single standpoint – covering the canvas with one sweep of the brush. With these paintings Rae dispensed with the wide catalogue of mark-making she had used previously in favour of a fairly even approach with very little overpainting. Working on one painting at a time, the reduction in palette led to a concentration on the ambiguous relationship within each brushstroke between figure and ground. The titles she employs – such as <i>Fig 1g</i> – present the painting as an illustration and an image suggestive of a figure or being. Rae has said that she sees ‘these paintings as suggesting the presence of a figure, whilst simultaneously insisting on its absence; the paintings remain abstract.’ (Quoted in Buchmann Galerie 2016, unpaginated.) Instances of out-of-focus blur in the paintings – a device she first employed after 2000 – here describe this idea of application and erasure that defines her attitude to the spatial illusion within her paintings as being digitally derived.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Fiona Rae</i>, exhibition catalogue, Maison Carre, Nimes 2002.<br/>\n<i>Fiona Rae: Maybe you can live on the moon in the next century</i>, exhibition catalogue.<br/>\n<i>Fiona Rae</i>, exhibition catalogue, Timothy Taylor, London 2015.<br/>\n<i>Fiona Rae</i>, exhibition catalogue, Buchmann Galerie Berlin 2016.</p>\n<p>Andrew Wilson<br/>May 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-01-23T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Oil paint on canvas	[ { "append_role_to_name": false, "date": "born 1963", "fc": "Fiona Rae", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/fiona-rae-2287" } ]	120,929	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	2,017	<a href="https://www.tate.org.uk/art/artists/fiona-rae-2287" aria-label="More by Fiona Rae" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Fiona Rae</a>	Snow White changes into something rich and strange	2,018		[]	Purchased with funds provided by the Denise Coates Foundation on the occasion of the 2018 centenary of women gaining the right to vote in Britain 2018	T15085	{ "id": 6, "meta": { "type": "art.Classification" } }			7004541 7004543 7018484 7004542 1000111 1000004	Fiona Rae	2,017	[]	<p><span>Snow White changes into something rich and strange</span> 2017 is a portrait-format abstract painting in oil and acrylic on canvas. It is painted on a light ground using a predominantly candy-coloured palette of turquoise, green, yellow and purple. There are fewer of the looping curvilinear strokes that characterised many of Rae’s earlier paintings, such as <span>Figure 1g </span>2014 (Tate T15084). Instead, a number of blurry, out of focus areas are punctuated by petal or feather forms that could also suggest body fragments that inhabit an airy, filmy space where the most emphatic brushstrokes represent dotted lines or arrows.</p>	false	1	https://media.tate.org.u…15/T15085_10.jpg	2287	painting oil paint canvas	[]	Snow White changes into something rich and strange	2,017	Tate	2017		CLEARED	6	support: 1833 × 1297 mm	accessioned work	Tate	Purchased with funds provided by the Denise Coates Foundation on the occasion of the 2018 centenary of women gaining the right to vote in Britain 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Snow White changes into something rich and strange</i> 2017 is a portrait-format abstract painting in oil and acrylic on canvas. It is painted on a light ground using a predominantly candy-coloured palette of turquoise, green, yellow and purple. There are fewer of the looping curvilinear strokes that characterised many of Rae’s earlier paintings, such as <i>Figure 1g </i>2014 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/rae-figure-1g-t15084\" title=\"View the details of this artwork\"><span>T15084</span></a>). Instead, a number of blurry, out of focus areas are punctuated by petal or feather forms that could also suggest body fragments that inhabit an airy, filmy space where the most emphatic brushstrokes represent dotted lines or arrows.</p>\n<p>After a period between 2014 and 2016 when she painted almost exclusively in tones of black, white and grey – producing what she calls her <i>Greyscale</i> paintings (see, for example, <i>Figure 1g </i>2014, Tate <span>T15084</span>) – Rae reintroduced colour into her work, using a candy-coloured pastel palette, albeit in a tonally muted way. <i>Snow White changes into something rich and strange</i> describes a figure that is dispersed and fragmented in a space that is difficult to describe. Dotted lines and arrows describe a cut-and-paste space around which knotted brushstrokes summon up a range of references from the surrealist work of Salvador Dalí (1904–1989) to fantastical figures from fairy tales.</p>\n<p>Throughout the 1990s – in works such as <i>Untitled (yellow) </i>1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/rae-untitled-yellow-t06482\" title=\"View the details of this artwork\"><span>T06482</span></a>) and <i>Untitled (grey and brown) </i>1991 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/rae-untitled-grey-and-brown-t06481\" title=\"View the details of this artwork\"><span>T06481</span></a>) – she had gathered together a hybrid set of painterly, modernist, stylistic signs derived from abstract expressionism to pop art, that were employed often in a disjunctive manner that emphasised the painting’s artificiality and reality. The essential truth of a brushstroke representing itself and something else has always remained a starting point for her work, as has the fluctuating understanding of ‘figure’ and ‘ground’. In 2000, however, she began to work from new starting points based on computer-generated imagery of numbers and other graphic signs, manipulated through Photoshop, which, in fragment suggest signage from the Far East. These were then painted and provided a basis for improvisation. </p>\n<p>By 2005 Rae’s paintings had moved forward again, retaining a painted digital imagery that is then layered with marks of painting – drips, runs, smears, different kinds of brush stroke – sometimes single colour, more often multi-coloured. They describe marks but also float free of space, though sometimes knot-form brushstrokes exist in their own description of space. Paintings such as these flirted with ideas of kitsch – a recurring theme for Rae, who draws on a huge range of cultural reference not for its sense of exotic otherness but rather as a cut-and-paste narrative of placelessness. Her canvases tread a line between personal expression, quotation and appropriation, pushing abstract painting towards figuration, while also exploring cultural identity, digital processes and contemporary imagery.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Fiona Rae: Maybe you can live on the moon in the next century</i>, exhibition catalogue, Leeds City Art Gallery 2012.<br/>\n<i>Fiona Rae</i>, exhibition catalogue, Timothy Taylor, London 2015.<br/>\n<i>Fiona Rae</i>, exhibition catalogue, Buchmann Galerie Berlin 2016.</p>\n<p>Andrew Wilson<br/>May 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-01-23T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Oil paint on canvas	[ { "append_role_to_name": false, "date": "1938–1966", "fc": "Pauline Boty", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/pauline-boty-2684" } ]	120,930	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999784, "shortTitle": "Works on loan" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,962	<a href="https://www.tate.org.uk/art/artists/pauline-boty-2684" aria-label="More by Pauline Boty" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Pauline Boty</a>	Portrait Derek Marlowe with Unknown Ladies	2,018		[]	Purchased with funds provided by the Denise Coates Foundation on the occasion of the 2018 centenary of women gaining the right to vote in Britain 2018	T15086	{ "id": 6, "meta": { "type": "art.Classification" } }			7008175 7002445 7008591 7011781 7008136	Pauline Boty	1,962	[]	<p>Pop artist Boty used popular culture imagery to question how gender roles were presented. This work contrasts the treatment of an individual male sitter and the decorative depiction of unnamed women. Derek Marlowe (1938–1996) was an English writer and painter. He appears cool and assertive, in a pose common in celebrity photographs of the time. The smudged faces of four anonymous women are cut off at the forehead and chin. Boty said that for most men, women were ‘kind of things’.</p><p><em>Gallery label, May 2019</em></p>	false	1	https://media.tate.org.u…15/T15086_10.jpg	2684	painting oil paint canvas	[ { "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 June 2023 – 28 April 2024", "endDate": "2024-04-28", "exhibitionLegs": [ { "dateText": "14 June 2023 – 28 April 2024", "endDate": "2024-04-28", "id": 13350, "startDate": "2023-06-14", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 10994, "startDate": "2023-06-14", "title": "The Yageo Exhibition: Capturing the Moment", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "29 June 2024 – 16 November 2024", "endDate": "2024-11-16", "exhibitionLegs": [ { "dateText": "29 June 2024 – 16 November 2024", "endDate": "2024-11-16", "id": 15716, "startDate": "2024-06-29", "venueName": "Kaohsiung Museum of Fine Arts (Kaohsiung, Taiwan)", "venueWebsiteUrl": null } ], "id": 11558, "startDate": "2024-06-29", "title": "Capturing the Moment", "type": "Loan-out" } ]	Portrait of Derek Marlowe with Unknown Ladies	1,962	Tate	1962–3		CLEARED	6	support: 1222 × 1224 mm frame: 1236 × 1235 × 29 mm	accessioned work	Tate	Purchased with funds provided by the Denise Coates Foundation on the occasion of the 2018 centenary of women gaining the right to vote in Britain 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This oil painting on a square canvas is a portrait of Derek Marlowe (1938–1996), an English writer and painter. Boty painted Marlowe in a monochrome blue-grey palette on an indigo-blue background, showing him only from the torso upwards, leaning forwards to rest on his elbows. His black jumper gives him a strong outline and presence, focusing attention on his face and hands. The darker areas of Marlowe’s face are lighter and bluer than the black of his hair and jumper, and his face has been painted to give the impression of slight movement, as if capturing a moment on black-and-white film. The figure is set against a blue background that has been formatted to reference analog film. Five curved shapes extend from the left-hand edge of the canvas and blue markings form a vertical line on the right, resembling perforations and audio signal waveforms as recorded on film. This might suggest that the portrait was painted in response to photographic images or cinematic footage of the sitter; or the motifs may have been added to highlight his role and image within the visual culture of the time. Marlowe is depicted holding a cigarette between two fingers while smiling into the ‘lens’. The pose he holds was common in celebrity photographs of the time and is most famously associated with images of Audrey Hepburn in Blake Edwards’s film <i>Breakfast at Tiffany’s</i> (1961). </p>\n<p>In a separate frieze-like section above Marlowe’s figure, Boty painted the faces of four women on a red background, their heads cut short at the forehead and chin, the outside two also cropped by the side of the canvas. The women have smudged pouts and, although one smiles widely, their faces are disquieting due to Boty’s variously crude use of paint and sharp accents of colour, as well as their forced expressions. The contrast between the cool, filmic treatment of an individual male sitter, who is named in the title, and Boty’s decorative montage of unknown women’s faces is representative of an important shift in Boty’s work around 1962–3, when she increasingly employed contrasting styles within multifigure compositions to critique imbalances of power between images of men and women. This reached a climax in the paintings <i>It’s a Man’s World</i> <i>I</i> 1964 and <i>II </i>1965–6 (private collections). Boty later spoke about the expectation that women would play roles and therefore their personalities would remain relatively unknown. She described how, for most men, women were ‘kind of things, or something you don’t quite know about’ (quoted in Sue Tate 2013, p.79).</p>\n<p>Boty was especially drawn to widely published images of Marilyn Monroe after the actress’s death on 5 August 1962 and, over the following months, she responded to these images in paintings such as <i>Colour Her Gone</i> 1962 (Wolverhampton Art Gallery) and <i>The Only Blonde in the World</i> 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/boty-the-only-blonde-in-the-world-t07496\" title=\"View the details of this artwork\"><span>T07496</span></a>). The expression of one of Boty’s ‘unknown ladies’ in her portrait of Marlowe relates to an iconic closely-cropped photograph of Monroe’s smiling face, tilted so that she looks down with wide kohl-lined eyes, which was used on the front cover of the November 1962 issue of the British men’s magazine <i>Town</i> (formerly known as <i>Man about Town)</i> and repeated by Boty in <i>Colour Her Gone</i>. These ‘unknown ladies’ are, however, more generic female faces than specific representations of Monroe or other cultural icons. They are especially similar to those Boty cut from popular magazines and collaged in a row for her unrealised theatre designs of 1961 for Jean Genet’s <i>The Balcony</i>, a drama set in a brothel and characterised by power struggles. Boty also painted this row of faces in a set design for Scene V of the play, when one of the prostitutes complains to ‘Madame’ that dressing up and playing roles could damage ‘a girl’s soul’ (Sue Tate 2013, p.55).</p>\n<p>\n<i>Portrait of Derek Marlowe with Unknown Ladies</i> was made while Boty was living and working in London. At this time she also taught occasionally at Hammersmith School of Art and took on acting roles. Her room at Addison Road near Shepherd’s Bush was the location for a scene in <i>Pop Goes the Easel</i>, a forty-four-minute portrait of London’s pop art scene made in the summer of 1962 by Ken Russell for the BBC programme <i>Monitor</i>. 1963 was a year of personal and professional transition for Boty: she married literary agent and television producer Clive Goodwin in June and her first solo exhibition was held at London’s Grabowski Gallery from 10 September to 5 October.</p>\n<p>\n<b>Further reading</b>\n<br/>Sue Watling and David Alan Mellor, <i>Pauline Boty (1938–1966): The Only Blonde in the World</i>, London 1998, p.10, reproduced p.13.<br/>Sue Tate, <i>Pauline Boty: Pop Artist and Woman</i>, exhibition catalogue, Wolverhampton 2013, pp.55, 79, reproduced p.93.</p>\n<p>Rachel Rose Smith<br/>June 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-01-23T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Pop artist Boty used popular culture imagery to question how gender roles were presented. This work contrasts the treatment of an individual male sitter and the decorative depiction of unnamed women. Derek Marlowe (1938–1996) was an English writer and painter. He appears cool and assertive, in a pose common in celebrity photographs of the time. The smudged faces of four anonymous women are cut off at the forehead and chin. Boty said that for most men, women were ‘kind of things’.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2019-05-08T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]	[]	null	true		false		artwork
Brass on wooden base	[ { "append_role_to_name": false, "date": "1889–1958", "fc": "Marlow Moss", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/marlow-moss-1671" } ]	120,938	[ { "id": 999999873, "shortTitle": "Tate St Ives" }, { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999872, "shortTitle": "Works on display" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,949	<a href="https://www.tate.org.uk/art/artists/marlow-moss-1671" aria-label="More by Marlow Moss" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Marlow Moss</a>		2,018		[ { "map_gallery": "TSI", "map_gallery_label": "Tate St Ives", "map_level": "TSI_03", "map_level_label": "TSI Level 3", "map_space": "TSI32", "map_space_label": "Tate St Ives / TSI32", "map_wing": null, "map_wing_label": null, "map_zone": null, "map_zone_label": null, "nid": "479052" } ]	Purchased with funds provided by the Denise Coates Foundation on the occasion of the 2018 centenary of women gaining the right to vote in Britain 2018	T15087	{ "id": 8, "meta": { "type": "art.Classification" } }			7008175 7002445 7008591 7011366 7008116	Marlow Moss	1,949	[]	<p>This is one of three sculptures by Marlow Moss in which sheets of metal have been folded to create a pattern based on the structure and planes of a tetrahedron. The location of the other two is not known, but one of them is identified in a black and white archival photograph held in Tate Archives, which has an inscription by Moss on the reverse giving the title as <span>Construction Based on a Tetrahedron</span> and the date 1950. This photograph shows a construction composed of the same pattern of repeated tetrahedron planes as seen in <span>Untitled </span>c.1950, but extended so that it is formed of approximately five times as many elements. Each of the sculptures is fixed to a narrow cuboid base.The structure of this sculpture is characteristic of Moss’s three-dimensional work, which involved the exploration of concepts of geometrical mathematics. Moss is known to have read the philosophy of mathematician Matila Ghyka, whose ideas were founded upon the Pythagorean concept that the universe is formed entirely from principles of geometry. Since the late 1920s Moss had been familiar with the work and theories of the pioneering abstract artist Piet Mondrian (1872–1944), and is known to have met him in Paris in 1929.Moss attended the Slade School of Fine Art in London between 1917 and 1919. Moss’s life during the 1920s was characterised by movements between London and Cornwall. After a four-year period in Cornwall, in 1923 Moss returned to London. Moss’s name then changed from Marjorie to Marlow. A few years later, Moss was again in Cornwall, studying at Penzance Art School. In London from 1926, Moss had an exhibition with the London Group in 1927. That year Moss also moved to Paris, and attended the Académie Moderne and met Netty Nijhoff-Wind, who previously owned this sculpture. Part of a relatively varied community of artists associated with the Paris-based group Abstraction-Création<span> </span>in the mid-1930s, Moss here encountered the ideas and works of Swiss and French constructivists Max Bill (1908–1994) and Jean Gorin (1899–1981).During the Second World War Moss stayed with Nijhoff in the Netherlands, before fleeing for London in 1940, leaving a lot of work behind. Upon returning to England, Moss again travelled to Cornwall, and settled in Lamorna, south-west of Penzance. It is here that Moss began to make metal constructions such as a polished copper column of c.1944, partly inspired by having attended a course in architecture at Penzance during the war. Although Moss continued to make regular trips to Paris after the end of the war and exhibited in international groupings such as the Salon des Réalités Nouvelles, Lamorna remained Moss’s permanent residence until her death in 1958.The sculpture <span>Untitled </span>c.1950 is characteristic of Moss’s sculptural works of the 1950s, many of which were conceived as explorations in geometrical relationships. In material and form is it reminiscent of the totemic but restrained resonance of works by the modernist sculptor Constantin Brancusi (1876–1957) and the abstract sculpting of geometrical planes in the early work of Naum Gabo (1890–1977). In its basis upon non-representational geometry it is also closely connected to the tenets of post-war constructivism in Britain and further afield. Within the artist’s output of this period, these tetrahedron constructions are comparable to other metal constructions formed of geometric elements, such as the steel <span>Spatial Construction</span> 1949 (Nijhoff/Oosthoek Collection, Zurich), and later forms of polished brass sheets, including <span>Concentric Circles Projected in Space</span> 1953 (whereabouts unknown). Over the following years Moss’s sculptures took on added complexity regarding the range of materials and forms assembled together, as demonstrated by <span>Balanced Forms in Gunmetal on Cornish Granite</span> 1956–7 (Tate T01114). <span>Further reading</span> Florette Dijkstra, <span>Marlow Moss: Constructivist the Reconstruction Project</span>, translated Annie Wright, Den Bosch, Netherlands 1995.Lucy Howarth, <span>Marlow Moss (1889–1958)</span>, Ph.D. thesis, University of Plymouth 2008, series illustrated p.129.Sabine Schaschl (ed.), <span>A Forgotten Maverick:</span> <span>Marlow Moss</span>, exhibition catalogue, Museum Haus Konstruktiv, Zurich 2017, illustrated p.83.Rachel Rose SmithAugust 2018Revised 2023</p>	false	1	https://media.tate.org.u…15/T15087_10.jpg	1671	sculpture brass wooden	[ { "artistRoomsTour": false, "dateText": "13 March 2021", "endDate": null, "exhibitionLegs": [ { "dateText": "13 March 2021", "endDate": null, "id": 14382, "startDate": "2021-03-13", "venueName": "Tate St Ives (St Ives, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/stives/" } ], "id": 11861, "startDate": "2021-03-13", "title": "Gallery 2: Modern Art and St Ives", "type": "Collection based display" } ]	Untitled	1,949	Tate	c.1950		CLEARED	8	object: 214 × 93 × 88 mm	accessioned work	Tate	Purchased with funds provided by the Denise Coates Foundation on the occasion of the 2018 centenary of women gaining the right to vote in Britain 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of three sculptures by Marlow Moss in which sheets of metal have been folded to create a pattern based on the structure and planes of a tetrahedron. The location of the other two is not known, but one of them is identified in a black and white archival photograph held in Tate Archives, which has an inscription by Moss on the reverse giving the title as <i>Construction Based on a Tetrahedron</i> and the date 1950. This photograph shows a construction composed of the same pattern of repeated tetrahedron planes as seen in <i>Untitled </i>c.1950, but extended so that it is formed of approximately five times as many elements. Each of the sculptures is fixed to a narrow cuboid base.<br/>The structure of this sculpture is characteristic of Moss’s three-dimensional work, which involved the exploration of concepts of geometrical mathematics. Moss is known to have read the philosophy of mathematician Matila Ghyka, whose ideas were founded upon the Pythagorean concept that the universe is formed entirely from principles of geometry. Since the late 1920s Moss had been familiar with the work and theories of the pioneering abstract artist Piet Mondrian (1872–1944), and is known to have met him in Paris in 1929.<br/>Moss attended the Slade School of Fine Art in London between 1917 and 1919. Moss’s life during the 1920s was characterised by movements between London and Cornwall. After a four-year period in Cornwall, in 1923 Moss returned to London. Moss’s name then changed from Marjorie to Marlow. A few years later, Moss was again in Cornwall, studying at Penzance Art School. In London from 1926, Moss had an exhibition with the London Group in 1927. That year Moss also moved to Paris, and attended the Académie Moderne and met Netty Nijhoff-Wind, who previously owned this sculpture. Part of a relatively varied community of artists associated with the Paris-based group Abstraction-Création<i> </i>in the mid-1930s, Moss here encountered the ideas and works of Swiss and French constructivists Max Bill (1908–1994) and Jean Gorin (1899–1981).<br/>During the Second World War Moss stayed with Nijhoff in the Netherlands, before fleeing for London in 1940, leaving a lot of work behind. Upon returning to England, Moss again travelled to Cornwall, and settled in Lamorna, south-west of Penzance. It is here that Moss began to make metal constructions such as a polished copper column of c.1944, partly inspired by having attended a course in architecture at Penzance during the war. Although Moss continued to make regular trips to Paris after the end of the war and exhibited in international groupings such as the Salon des Réalités Nouvelles, Lamorna remained Moss’s permanent residence until her death in 1958.<br/>The sculpture <i>Untitled </i>c.1950 is characteristic of Moss’s sculptural works of the 1950s, many of which were conceived as explorations in geometrical relationships. In material and form is it reminiscent of the totemic but restrained resonance of works by the modernist sculptor Constantin Brancusi (1876–1957) and the abstract sculpting of geometrical planes in the early work of Naum Gabo (1890–1977). In its basis upon non-representational geometry it is also closely connected to the tenets of post-war constructivism in Britain and further afield. Within the artist’s output of this period, these tetrahedron constructions are comparable to other metal constructions formed of geometric elements, such as the steel <i>Spatial Construction</i> 1949 (Nijhoff/Oosthoek Collection, Zurich), and later forms of polished brass sheets, including <i>Concentric Circles Projected in Space</i> 1953 (whereabouts unknown). Over the following years Moss’s sculptures took on added complexity regarding the range of materials and forms assembled together, as demonstrated by <i>Balanced Forms in Gunmetal on Cornish Granite</i> 1956–7 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"/art/artworks/T01114\" onclick=\"popTateObjects(event, -1, 'T01114');\" title=\"View details of this artwork\"><span>T01114</span></a>).<br/>\n<b>Further reading</b>\n<br/>Florette Dijkstra, <i>Marlow Moss: Constructivist + the Reconstruction Project</i>, translated Annie Wright, Den Bosch, Netherlands 1995.<br/>Lucy Howarth, <i>Marlow Moss (1889–1958)</i>, Ph.D. thesis, University of Plymouth 2008, series illustrated p.129.<br/>Sabine Schaschl (ed.), <i>A Forgotten Maverick:</i> <i>Marlow Moss</i>, exhibition catalogue, Museum Haus Konstruktiv, Zurich 2017, illustrated p.83.<br/>Rachel Rose Smith<br/>August 2018<br/>Revised 2023</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-08-01T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		true		artwork
Graphite and watercolour on paper	[ { "append_role_to_name": false, "date": "1885–1963", "fc": "Helen Saunders", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/helen-saunders-1899" } ]	120,948	[ { "id": 999999876, "shortTitle": "Tate Britain" }, { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999872, "shortTitle": "Works on display" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,913	<a href="https://www.tate.org.uk/art/artists/helen-saunders-1899" aria-label="More by Helen Saunders" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Helen Saunders</a>	Portrait a Woman	2,018		[]	Presented by Brigid Peppin 2018	T15088	{ "id": 5, "meta": { "type": "art.Classification" } }			7011781 7008136 7002445 7008591 1004682	Helen Saunders	1,913	[]	<p>In <span>Portrait of a Woman </span>1913–14 angular shapes drawn in pencil are used to outline the head and shoulders of a female figure. Watercolour washes have been applied to create shading on the left side of the face and neck, describing the head as a faceted geometric form in which abstract shapes created by shadow seem both to float free of the composition and to model the form. The sitter is the artist’s friend Blanche Caudwell whom she had known since 1908; later in life they shared a flat from 1933 until Caudwell’s death at the end of 1950, and Caudwell became Saunders’ most frequent sitter. Saunders exhibited a painting entitled <span>Portrait of a Woman</span> in the exhibition <span>Twentieth Century Art: A Review of Modern Movements</span> at the Whitechapel Art Gallery in May 1914 and this drawing may be a study for that painting. Saunders’ faceted approach to the figure shows her exploring cubist ideas in a period when she was moving towards abstraction and away from post-impressionism and the circle of artists around Roger Fry (1866–1934) with which she had first exhibited. She had been invited by Fry to show in his exhibition <span>Quelques Independents Anglais</span> at the Galerie Barbazanges in Paris in May 1912, alongside Frederick Etchells (1886–1973), Charles Ginner (1878–1952), Spencer Gore (1878–1914), Wyndham Lewis (1882–1957), Vanessa Bell (1879–1961) and Duncan Grant (1885–1978), but in 1912 she also became friends with the future Vorticists Wyndham Lewis and Jessica Dismorr (1885–1939).</p>	false	1	https://media.tate.org.u…15/T15088_10.jpg	1899	paper unique graphite watercolour	[ { "artistRoomsTour": false, "dateText": "2 November 2019 – 23 February 2020", "endDate": "2020-02-23", "exhibitionLegs": [ { "dateText": "2 November 2019 – 23 February 2020", "endDate": "2020-02-23", "id": 12812, "startDate": "2019-11-02", "venueName": "Pallant House Gallery (Chichester, UK)", "venueWebsiteUrl": null } ], "id": 9810, "startDate": "2019-11-02", "title": "Radical Women: Jessica Dismorr and her Contemporaries", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "16 May 2024 – 13 October 2024", "endDate": "2024-10-13", "exhibitionLegs": [ { "dateText": "16 May 2024 – 13 October 2024", "endDate": "2024-10-13", "id": 15582, "startDate": "2024-05-16", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 12785, "startDate": "2024-05-16", "title": "Now You See Us: Women Artists in Britain 1520-1920", "type": "Exhibition" } ]	Portrait of a Woman	1,913	Tate	c.1913–1914		CLEARED	5	support: 344 × 256 mm	accessioned work	Tate	Presented by Brigid Peppin 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>In <i>Portrait of a Woman </i>1913–14 angular shapes drawn in pencil are used to outline the head and shoulders of a female figure. Watercolour washes have been applied to create shading on the left side of the face and neck, describing the head as a faceted geometric form in which abstract shapes created by shadow seem both to float free of the composition and to model the form. The sitter is the artist’s friend Blanche Caudwell whom she had known since 1908; later in life they shared a flat from 1933 until Caudwell’s death at the end of 1950, and Caudwell became Saunders’ most frequent sitter. Saunders exhibited a painting entitled <i>Portrait of a Woman</i> in the exhibition <i>Twentieth Century Art: A Review of Modern Movements</i> at the Whitechapel Art Gallery in May 1914 and this drawing may be a study for that painting. Saunders’ faceted approach to the figure shows her exploring cubist ideas in a period when she was moving towards abstraction and away from post-impressionism and the circle of artists around Roger Fry (1866–1934) with which she had first exhibited. She had been invited by Fry to show in his exhibition <i>Quelques Independents Anglais</i> at the Galerie Barbazanges in Paris in May 1912, alongside Frederick Etchells (1886–1973), Charles Ginner (1878–1952), Spencer Gore (1878–1914), Wyndham Lewis (1882–1957), Vanessa Bell (1879–1961) and Duncan Grant (1885–1978), but in 1912 she also became friends with the future Vorticists Wyndham Lewis and Jessica Dismorr (1885–1939).</p>\n<p>Saunders would become one of the key members of the Vorticist Group although she later claimed that only a few of the Vorticists – Dismorr, Etchells, William Roberts, Edward Wadsworth and Lewis – were known to her personally. In April 1914 Saunders joined the Rebel Art Centre which Lewis founded after his break with Fry and two of her works were selected for the important survey exhibition <i>Twentieth-Century Art: A Review of Modern Movements</i> at the Whitechapel Art Gallery in May 1914. She signed the Vorticist Manifesto published in <i>Blast</i> no.1 in July 1914, contributed designs and a poem to <i>Blast</i> in July 1915, and exhibited in the two Vorticist exhibitions at the Doré Gallery, London in June 1915 and the Penguin Club, New York in January 1917. Between 1915 and 1916 Saunders produced a series of powerful Vorticist compositions which employed a distinctive interpretation of the dynamic geometric language of the movement in the combination of jagged diagonal forms with curved shapes and figurative elements, as seen in <i>Abstract Multi-coloured Design</i> c.1915 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/saunders-abstract-multicoloured-design-t00624\" title=\"View the details of this artwork\"><span>T00624</span></a>) in which a figure is mounted on a form that resembles a diagonally thrusting rocket. Like other Vorticist artists she returned to figuration after the First World War, working again in a post-impressionist idiom.</p>\n<p>\n<i>Portrait of a Woman</i> is one of a group of works by Saunders in Tate’s collection that were inherited by the artist’s sister Ethel and remained in her family by descent until being acquired by Tate. </p>\n<p>\n<b>Further reading</b>\n<br/>Richard Cork, <i>Vorticism and its Allies</i>, exhibition catalogue, Arts Council of Great Britain, Hayward Gallery, London 1974, pp.93–4.<br/>Brigid Peppin, <i>Helen Saunders 1885–1963</i>, exhibition catalogue, Ashmolean Museum, Oxford and The Graves Art Gallery, Sheffield 1996, cat. no.4, p.44.<br/>Jane Beckett and Deborah Cherry, ‘Modern Women, Modern Spaces: Women, Metropolitan Culture and Vorticism’, in Katy Deepwell (ed.), <i>Women Artists and Modernism</i>, Manchester 1998, pp.46–7.<br/>Mark Antliffe and Vivien Greene (eds.), <i>The Vorticists: Manifesto for a Modern World</i>, exhibition catalogue, Tate Britain, London 2011, pp.117, 188.</p>\n<p>Emma Chambers<br/>January 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-01-23T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		true		artwork
Graphite, ink and watercolour on paper	[ { "append_role_to_name": false, "date": "1885–1963", "fc": "Helen Saunders", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/helen-saunders-1899" } ]	120,949	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,915	<a href="https://www.tate.org.uk/art/artists/helen-saunders-1899" aria-label="More by Helen Saunders" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Helen Saunders</a>	Vorticist Design	2,018		[]	Presented by Brigid Peppin 2018	T15089	{ "id": 5, "meta": { "type": "art.Classification" } }			7011781 7008136 7002445 7008591 1004682	Helen Saunders	1,915	[]	<p>In <span>Vorticist Design </span>c.1915 a series of angular upward pointing and enclosed forms in tones of red, yellow, white and blue are outlined in black on a bi-coloured background of ochre and beige. The forms push upwards diagonally towards the upper right corner of the composition, where they are pierced by a single upright black and white triangular form with a yellow rhomboid form at its base. The overall diagonal trajectory of the composition is balanced by a sense of uncoiling movement as the forms angle back on themselves. Saunders’s work shifted from post-impressionism to draw on cubist influences between 1913 and 1914, and then between 1915 and 1916 she produced a series of powerful Vorticist compositions which employed a distinctive interpretation of the dynamic geometric language of the movement in the combination of jagged diagonal forms with curved shapes and figurative elements, as seen in <span>Abstract Multi-coloured Design</span> c.1915 (Tate T00624) in which a figure is mounted on a form that resembles a diagonally thrusting rocket. Purely abstract works by Saunders, such as <span>Vorticist Design</span>, are rarer but she drew several in 1915, perhaps connected to the work that she carried out with Wyndham Lewis (1882–1957) on mural decorations for the ‘Vorticist Room’ at the Restaurant de la Tour Eiffel in London. The art historian Richard Cork described Saunders’s Vorticist work as ‘a series of remarkable designs which show how much Vorticism enjoyed juxtaposing the most scalding colour oppositions to heighten the controlled structural dynamism of their forms’ (in Hayward Gallery 1974, p.22).</p>	false	1	https://media.tate.org.u…T15/T15089_9.jpg	1899	paper unique graphite ink watercolour	[ { "artistRoomsTour": false, "dateText": "5 May 2021 – 27 February 2022", "endDate": "2022-02-27", "exhibitionLegs": [ { "dateText": "5 May 2021 – 23 August 2021", "endDate": "2021-08-23", "id": 12991, "startDate": "2021-05-05", "venueName": "Musée National d’Art Moderne - Centre Pompidou (Paris, France)", "venueWebsiteUrl": "http://www.centrepompidou.fr" }, { "dateText": "22 October 2021 – 27 February 2022", "endDate": "2022-02-27", "id": 14184, "startDate": "2021-10-22", "venueName": "Guggenheim Museum (Bilbao, Spain)", "venueWebsiteUrl": null } ], "id": 10696, "startDate": "2021-05-05", "title": "Women in Abstraction", "type": "Loan-out" } ]	Vorticist Design	1,915	Tate	c.1915		CLEARED	5	support: 256 × 176 mm	accessioned work	Tate	Presented by Brigid Peppin 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>In <i>Vorticist Design </i>c.1915 a series of angular upward pointing and enclosed forms in tones of red, yellow, white and blue are outlined in black on a bi-coloured background of ochre and beige. The forms push upwards diagonally towards the upper right corner of the composition, where they are pierced by a single upright black and white triangular form with a yellow rhomboid form at its base. The overall diagonal trajectory of the composition is balanced by a sense of uncoiling movement as the forms angle back on themselves. Saunders’s work shifted from post-impressionism to draw on cubist influences between 1913 and 1914, and then between 1915 and 1916 she produced a series of powerful Vorticist compositions which employed a distinctive interpretation of the dynamic geometric language of the movement in the combination of jagged diagonal forms with curved shapes and figurative elements, as seen in <i>Abstract Multi-coloured Design</i> c.1915 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/saunders-abstract-multicoloured-design-t00624\" title=\"View the details of this artwork\"><span>T00624</span></a>) in which a figure is mounted on a form that resembles a diagonally thrusting rocket. Purely abstract works by Saunders, such as <i>Vorticist Design</i>, are rarer but she drew several in 1915, perhaps connected to the work that she carried out with Wyndham Lewis (1882–1957) on mural decorations for the ‘Vorticist Room’ at the Restaurant de la Tour Eiffel in London. The art historian Richard Cork described Saunders’s Vorticist work as ‘a series of remarkable designs which show how much Vorticism enjoyed juxtaposing the most scalding colour oppositions to heighten the controlled structural dynamism of their forms’ (in Hayward Gallery 1974, p.22).</p>\n<p>In April 1914 Saunders had joined the Rebel Art Centre, which Lewis founded after his break with Roger Fry (1866–1934) and his post-impressionist circle, and two of her works were selected for the important survey exhibition <i>Twentieth-Century Art: A Review of Modern Movements</i> at the Whitechapel Art Gallery in May 1914. She signed the Vorticist Manifesto published in <i>Blast</i> no.1 in July 1914, contributed three designs and a poem to <i>Blast</i> no.2 in July 1915, and exhibited in the two Vorticist exhibitions at the Doré Gallery, London in June 1915 and the Penguin Club, New York in January 1917. Although she was a key member of the Vorticist movement, Saunders later claimed that only a few its members – Jessica Dismorr (1885–1939), Frederick Etchells (1886–1973), William Roberts (1895–1980), Edward Wadsworth (1889–1949) and Lewis – were known to her personally. In 1962 Saunders described Vorticism as: ‘A group of very disparate artists each working out his [sic] own ideas under the aegis of the Group and its very able leader and publicist Wyndham Lewis.’ (Letter to William Wees, 1 September 1962, quoted in Ashmolean Museum 1996, p.12.)</p>\n<p>\n<i>Vorticist Design </i>has a similar composition to <i>Study for ‘Vorticist Composition in Black and White’ </i>c.1915 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/saunders-study-for-vorticist-composition-in-black-and-white-t15090\" title=\"View the details of this artwork\"><span>T15090</span></a>), a monochrome drawing in which angular geometric black forms push upwards to the top right of the composition<i> </i>counterpointed by a smaller form at the bottom pushing upwards to the left. Saunders’s use of geometric elements to create a dynamic force in these two drawings is characteristic of Vorticist aims to express the dynamism of the modern world through hard-edged imagery derived from the machine and the urban environment. In 1914 Lewis described how the art of the figure would be abstracted to ‘a simple black human bullet’ capturing the geometry and explosive energy that characterised his own and Saunders’s work (Wyndham Lewis, ‘The New Egos’, <i>Blast</i>, no.1, 1914, p.141). In 1913, just before the group was formed, he had stated: ‘All revolutionary painting today has in common the rigid reflections of steel and stone in the spirit of the artist; that desire for stability as though a machine were being built to fly or kill with … [a] realization of the value of colour and form as such independently of what recognisable form it covers and encloses.’ (Lewis 1913, quoted in Hayward Gallery 1974, p.11). Saunders, reflecting later on her role in shaping the visual identity of Vorticism, described its aims as ‘emphasising the fact that shapes and their relationships have a meaning of their own apart from any literary or representational overtones’ (letter to William Wees, 1 September 1962, quoted in Ashmolean Museum, p.45).</p>\n<p>\n<i>Vorticist Design</i> is one of a group of works by Saunders in Tate’s collection that were inherited by the artist’s sister Ethel and remained in her family by descent until being acquired by Tate.</p>\n<p>\n<b>Further reading</b>\n<br/>Richard Cork, <i>Vorticism and its Allies</i>, exhibition catalogue, Arts Council of Great Britain, Hayward Gallery, London 1974, cat. no.411, pp.93–4.<br/>Brigid Peppin, <i>Helen Saunders 1885–1963</i>, exhibition catalogue, Ashmolean Museum, Oxford and The Graves Art Gallery, Sheffield 1996, cat. no.12, p.45.<br/>Jane Beckett and Deborah Cherry, ‘Modern Women, Modern Spaces: Women, Metropolitan Culture and Vorticism’, in Katy Deepwell (ed.), <i>Women Artists and Modernism</i>, Manchester 1998, pp.46–7.<br/>Mark Antliffe and Vivien Greene (eds.), <i>The Vorticists: Manifesto for a Modern World</i>, exhibition catalogue, Tate Britain, London 2011, pp.117, 188.</p>\n<p>Emma Chambers<br/>January 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-01-23T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Graphite and ink on paper	[ { "append_role_to_name": false, "date": "1885–1963", "fc": "Helen Saunders", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/helen-saunders-1899" } ]	120,950	[ { "id": 999999876, "shortTitle": "Tate Britain" }, { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999872, "shortTitle": "Works on display" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,915	<a href="https://www.tate.org.uk/art/artists/helen-saunders-1899" aria-label="More by Helen Saunders" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Helen Saunders</a>	Vorticist Composition in Black and White	2,018		[]	Presented by Brigid Peppin 2018	T15090	{ "id": 5, "meta": { "type": "art.Classification" } }			7011781 7008136 7002445 7008591 1004682	Helen Saunders	1,915	[]	<p>In <span>Study for ‘Vorticist Composition in Black and White’ </span>c.1915 angular geometric black forms push upwards to the top right of the composition<span> </span>counterpointed by a smaller form at the bottom pushing upwards to the left. Parallel short vertical lines and dashes are used to shade areas of white between the thick black lines. The study is a design for an uncredited tailpiece on page sixteen of the second issue of the Vorticist magazine <span>Blast </span>(no.2, July 1915), which can be attributed to Saunders on the basis of its similarity to this design. The composition is similar to Saunders’s <span>Vorticist Design </span>c.1915 (Tate T15089) in which a series of angular upward pointing and enclosed forms in tones of red, yellow, white and blue are outlined in black on a bi-coloured background of ochre and beige. The forms push upwards diagonally towards the upper right corner of the composition, where they are pierced by a single upright black and white triangular form with a yellow rhomboid form at its base.</p>	false	1	https://media.tate.org.u…15/T15090_10.jpg	1899	paper unique graphite ink	[ { "artistRoomsTour": false, "dateText": "2 November 2019 – 23 February 2020", "endDate": "2020-02-23", "exhibitionLegs": [ { "dateText": "2 November 2019 – 23 February 2020", "endDate": "2020-02-23", "id": 12812, "startDate": "2019-11-02", "venueName": "Pallant House Gallery (Chichester, UK)", "venueWebsiteUrl": null } ], "id": 9810, "startDate": "2019-11-02", "title": "Radical Women: Jessica Dismorr and her Contemporaries", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "16 May 2024 – 13 October 2024", "endDate": "2024-10-13", "exhibitionLegs": [ { "dateText": "16 May 2024 – 13 October 2024", "endDate": "2024-10-13", "id": 15582, "startDate": "2024-05-16", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 12785, "startDate": "2024-05-16", "title": "Now You See Us: Women Artists in Britain 1520-1920", "type": "Exhibition" } ]	Study for ‘Vorticist Composition in Black and White’	1,915	Tate	c.1915		CLEARED	5	support: 184 × 118 mm	accessioned work	Tate	Presented by Brigid Peppin 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>In <i>Study for ‘Vorticist Composition in Black and White’ </i>c.1915 angular geometric black forms push upwards to the top right of the composition<i> </i>counterpointed by a smaller form at the bottom pushing upwards to the left. Parallel short vertical lines and dashes are used to shade areas of white between the thick black lines. The study is a design for an uncredited tailpiece on page sixteen of the second issue of the Vorticist magazine <i>Blast </i>(no.2, July 1915), which can be attributed to Saunders on the basis of its similarity to this design. The composition is similar to Saunders’s <i>Vorticist Design </i>c.1915 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/saunders-vorticist-design-t15089\" title=\"View the details of this artwork\"><span>T15089</span></a>) in which a series of angular upward pointing and enclosed forms in tones of red, yellow, white and blue are outlined in black on a bi-coloured background of ochre and beige. The forms push upwards diagonally towards the upper right corner of the composition, where they are pierced by a single upright black and white triangular form with a yellow rhomboid form at its base.</p>\n<p>Saunders’s work shifted from post-impressionism to draw on cubist influences between 1913 and 1914, and then between 1915 and 1916 she produced a series of powerful Vorticist compositions which employed a distinctive interpretation of the dynamic geometric language of the movement in the combination of jagged diagonal forms with curved shapes and figurative elements, as seen in <i>Abstract Multi-coloured Design</i> c.1915 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/saunders-abstract-multicoloured-design-t00624\" title=\"View the details of this artwork\"><span>T00624</span></a>) in which a figure is mounted on a form that resembles a diagonally thrusting rocket. Purely abstract works by Saunders, such as <i>Study for ‘Vorticist Composition in Black and White’</i>, are rarer but she drew several in 1915, perhaps connected to the work that she carried out with Wyndham Lewis (1882–1957) on mural decorations for the ‘Vorticist Room’ at the Restaurant de la Tour Eiffel in London. The art historian Richard Cork described Saunders’s Vorticist work as ‘a series of remarkable designs which show how much Vorticism enjoyed juxtaposing the most scalding colour oppositions to heighten the controlled structural dynamism of their forms’ (in Hayward Gallery 1974, p.22).</p>\n<p>Saunders’s use of geometric elements to create a dynamic force in both <i>Study for ‘Vorticist Composition in Black and White’</i> and <i>Vorticist Design</i> is characteristic of Vorticist aims to express the dynamism of the modern world through hard-edged imagery derived from the machine and the urban environment. In 1914 Lewis described how the art of the figure would be abstracted to ‘a simple black human bullet’ capturing the geometry and explosive energy that characterised his own and Saunders’s work (Wyndham Lewis, ‘The New Egos’, <i>Blast</i>, no.1, 1914, p.141). In 1913, just before the group was formed, he had stated: ‘All revolutionary painting today has in common the rigid reflections of steel and stone in the spirit of the artist; that desire for stability as though a machine were being built to fly or kill with … [a] realization of the value of colour and form as such independently of what recognisable form it covers and encloses.’ (Lewis 1913, quoted in Hayward Gallery 1974, p.11). Saunders, reflecting later on her role in shaping the visual identity of Vorticism, described its aims as ‘emphasising the fact that shapes and their relationships have a meaning of their own apart from any literary or representational overtones’ (letter to William Wees, 1 September 1962, quoted in Ashmolean Museum, p.45).</p>\n<p>In April 1914 Saunders had joined the Rebel Art Centre, which Lewis founded after his break with Roger Fry (1866–1934) and his post-impressionist circle, and two of her works were selected for the important survey exhibition <i>Twentieth-Century Art: A Review of Modern Movements</i> at the Whitechapel Art Gallery in May 1914. She signed the Vorticist Manifesto published in <i>Blast</i> no.1 in July 1914, contributed three designs and a poem to <i>Blast</i> no.2 in July 1915, and exhibited in the two Vorticist exhibitions at the Doré Gallery, London in June 1915 and the Penguin Club, New York in January 1917. Although she was a key member of the Vorticist movement, Saunders later claimed that only a few its members – Jessica Dismorr (1885–1939), Frederick Etchells (1886–1973), William Roberts (1895–1980), Edward Wadsworth (1889–1949) and Lewis – were known to her personally. In 1962 Saunders described Vorticism as: ‘A group of very disparate artists each working out his [sic] own ideas under the aegis of the Group and its very able leader and publicist Wyndham Lewis.’ (Letter to William Wees, 1 September 1962, quoted in Ashmolean Museum 1996, p.12.)</p>\n<p>\n<i>Study for ‘Vorticist Composition in Black and White’</i> is one of a group of works by Saunders in Tate’s collection that were inherited by the artist’s sister Ethel and remained in her family by descent until being acquired by Tate. </p>\n<p>\n<b>Further reading</b>\n<br/>Richard Cork, <i>Vorticism and its Allies</i>, exhibition catalogue, Arts Council of Great Britain, Hayward Gallery, London 1974, pp.93–4.<br/>Brigid Peppin, <i>Helen Saunders 1885–1963</i>, exhibition catalogue, Ashmolean Museum, Oxford and The Graves Art Gallery, Sheffield 1996, cat. no.10, p.45.<br/>Jane Beckett and Deborah Cherry, ‘Modern Women, Modern Spaces: Women, Metropolitan Culture and Vorticism’, in Katy Deepwell (ed.), <i>Women Artists and Modernism</i>, Manchester 1998, pp.46–7.<br/>Mark Antliffe and Vivien Greene (eds.), <i>The Vorticists: Manifesto for a Modern World</i>, exhibition catalogue, Tate Britain, London 2011, pp.117, 188.</p>\n<p>Emma Chambers<br/>January 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-01-23T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		true		artwork
Graphite on paper	[ { "append_role_to_name": false, "date": "1885–1963", "fc": "Helen Saunders", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/helen-saunders-1899" } ]	120,951	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,920	<a href="https://www.tate.org.uk/art/artists/helen-saunders-1899" aria-label="More by Helen Saunders" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Helen Saunders</a>	Striding Figure	2,018		[]	Presented by Brigid Peppin 2018	T15091	{ "id": 5, "meta": { "type": "art.Classification" } }	prints_and_drawings		7011781 7008136 7002445 7008591 1004682	Helen Saunders	1,920	[]	<p>In <span>Striding Figure</span> c.1920 a female nude is shown walking to the left with her hands on the small of her back. The spare, flowing outline suggests that the figure was quickly drawn from life. This drawing demonstrates Saunders’s skill in conveying the dynamic movement that she had explored in her Vorticist works around 1915–16, through minimal line describing a figurative subject. It is reminiscent of the drawings of Henri Gaudier-Brzeska (1891–1915), whose work Saunders admired. Although she never met him, she owned an Ovid Press limited edition portfolio of drawings by the artist published in 1919 and later described him as ‘the most considerable artist among us’ (letter to Walter Michel, 27 October 1962, quoted in ibid., p.13).</p>	true	1	https://media.tate.org.u…15/T15091_10.jpg	1899	paper unique graphite	[]	Striding Figure	1,920	Tate	c.1920	Prints and Drawings Rooms	CLEARED	5	support: 379 × 225 mm	accessioned work	Tate	Presented by Brigid Peppin 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>In <i>Striding Figure</i> c.1920 a female nude is shown walking to the left with her hands on the small of her back. The spare, flowing outline suggests that the figure was quickly drawn from life. This drawing demonstrates Saunders’s skill in conveying the dynamic movement that she had explored in her Vorticist works around 1915–16, through minimal line describing a figurative subject. It is reminiscent of the drawings of Henri Gaudier-Brzeska (1891–1915), whose work Saunders admired. Although she never met him, she owned an Ovid Press limited edition portfolio of drawings by the artist published in 1919 and later described him as ‘the most considerable artist among us’ (letter to Walter Michel, 27 October 1962, quoted in ibid., p.13).</p>\n<p>Earlier figurative drawings, such as <i>Portrait of a Woman </i>1913–14 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/saunders-portrait-of-a-woman-t15088\" title=\"View the details of this artwork\"><span>T15088</span></a>), showed Saunders exploring cubist ideas in a period when she was moving towards abstraction and away from post-impressionism and the circle of artists around Roger Fry (1866–1934) with which she had first exhibited. She had been invited by Fry to show in his exhibition <i>Quelques Independents Anglais</i> at the Galerie Barbazanges in Paris in May 1912, alongside Frederick Etchells (1886–1973), Charles Ginner (1878–1952), Spencer Gore (1878–1914), Wyndham Lewis (1882–1957), Vanessa Bell (1879–1961) and Duncan Grant (1885–1978), but in 1912 she also became friends with the future Vorticists Wyndham Lewis and Jessica Dismorr (1885–1939).</p>\n<p>Saunders would become one of the key members of the Vorticist Group although she later claimed that only a few of the Vorticists – Dismorr, Etchells, William Roberts, Edward Wadsworth and Lewis – were known to her personally. In April 1914 Saunders joined the Rebel Art Centre which Lewis founded after his break with Fry and two of her works were selected for the important survey exhibition <i>Twentieth-Century Art: A Review of Modern Movements</i> at the Whitechapel Art Gallery in May 1914. She signed the Vorticist Manifesto published in <i>Blast</i> no.1 in July 1914, contributed designs and a poem to <i>Blast</i> in July 1915, and exhibited in the two Vorticist exhibitions at the Doré Gallery, London in June 1915 and the Penguin Club, New York in January 1917. Between 1915 and 1916 Saunders produced a series of powerful Vorticist compositions which employed a distinctive interpretation of the dynamic geometric language of the movement in the combination of jagged diagonal forms with curved shapes and figurative elements, as seen in <i>Abstract Multi-coloured Design</i> c.1915 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/saunders-abstract-multicoloured-design-t00624\" title=\"View the details of this artwork\"><span>T00624</span></a>) in which a figure is mounted on a form that resembles a diagonally thrusting rocket.</p>\n<p>By 1919 Saunders had become estranged from Lewis and did not join Group X, Lewis’s attempt to regroup former Vorticists, which held one exhibition in 1920.<i> Striding Figure </i>shows how Saunders – like a number of other Vorticist artists – returned to figuration after the First World War, once more working in a post-impressionist idiom. The drawing is one of a group of works by Saunders in Tate’s collection that were inherited by the artist’s sister Ethel and remained in her family by descent until being acquired by Tate.</p>\n<p>\n<b>Further reading</b>\n<br/>Richard Cork, <i>Vorticism and its Allies</i>, exhibition catalogue, Arts Council of Great Britain, Hayward Gallery, London 1974, pp.93–4.<br/>Brigid Peppin, <i>Helen Saunders 1885–1963</i>, exhibition catalogue, Ashmolean Museum, Oxford and The Graves Art Gallery, Sheffield 1996, cat. no.25, p.48.<br/>Jane Beckett and Deborah Cherry, ‘Modern Women, Modern Spaces: Women, Metropolitan Culture and Vorticism’, in Katy Deepwell (ed.), <i>Women Artists and Modernism</i>, Manchester 1998, pp.46–7.<br/>Mark Antliffe and Vivien Greene (eds.), <i>The Vorticists: Manifesto for a Modern World</i>, exhibition catalogue, Tate Britain, London 2011, pp.117, 188.</p>\n<p>Emma Chambers<br/>January 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-01-23T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Graphite and watercolour on paper	[ { "append_role_to_name": false, "date": "1885–1963", "fc": "Helen Saunders", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/helen-saunders-1899" } ]	120,953	[ { "id": 999999873, "shortTitle": "Tate St Ives" }, { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999872, "shortTitle": "Works on display" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,930	<a href="https://www.tate.org.uk/art/artists/helen-saunders-1899" aria-label="More by Helen Saunders" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Helen Saunders</a>	Port Isaac	2,018		[ { "map_gallery": "TSI", "map_gallery_label": "Tate St Ives", "map_level": "TSI_03", "map_level_label": "TSI Level 3", "map_space": "TSI32", "map_space_label": "Tate St Ives / TSI32", "map_wing": null, "map_wing_label": null, "map_zone": null, "map_zone_label": null, "nid": "479052" } ]	Presented by Brigid Peppin 2018	T15092	{ "id": 5, "meta": { "type": "art.Classification" } }			7011781 7008136 7002445 7008591 1004682	Helen Saunders	1,930	[]	<p><span>View of Port Isaac </span>1930s is a view of the harbour painted from the hillside above the village of Port Isaac on the north coast of Cornwall. Saunders often spent holidays in Cornwall as a child and she visited Port Isaac many times in the late 1920s and 1930s. In this work she simplified the roofs of the houses to a series of geometric shapes which cluster at the base of the composition, while the coastline beyond and a road winding up to the top left are tilted upwards to create a vertical arrangement of forms. The art historian Brigid Peppin has described how, in Saunders’ watercolours of this period, she used ‘a tilted and flattened perspective to produce a topographically ambiguous landscape where uncertain spatial relationships enhance the formal design without compromising a sense of place’ (in Ashmolean Museum 1996, p.18). She also notes how the narrow unpainted strips which Saunders often used in this period to outline the areas of wash reverse ‘graphic expectations of dark boundaries [and] served to dislocate illusion’ (ibid.). Peppin argues that these ‘modernist’ affirmations of the picture surface show Saunders’s continuing emphasis on contemporary developments in her later figurative work.</p>	false	1	https://media.tate.org.u…15/T15092_10.jpg	1899	paper unique graphite watercolour	[]	View of Port Isaac	1,930	Tate	1930s		CLEARED	5	support: 381 × 289 mm	accessioned work	Tate	Presented by Brigid Peppin 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>View of Port Isaac </i>1930s is a view of the harbour painted from the hillside above the village of Port Isaac on the north coast of Cornwall. Saunders often spent holidays in Cornwall as a child and she visited Port Isaac many times in the late 1920s and 1930s. In this work she simplified the roofs of the houses to a series of geometric shapes which cluster at the base of the composition, while the coastline beyond and a road winding up to the top left are tilted upwards to create a vertical arrangement of forms. The art historian Brigid Peppin has described how, in Saunders’ watercolours of this period, she used ‘a tilted and flattened perspective to produce a topographically ambiguous landscape where uncertain spatial relationships enhance the formal design without compromising a sense of place’ (in Ashmolean Museum 1996, p.18). She also notes how the narrow unpainted strips which Saunders often used in this period to outline the areas of wash reverse ‘graphic expectations of dark boundaries [and] served to dislocate illusion’ (ibid.). Peppin argues that these ‘modernist’ affirmations of the picture surface show Saunders’s continuing emphasis on contemporary developments in her later figurative work.</p>\n<p>After a period working in a post-impressionist figurative idiom, Saunders moved towards abstraction and away from the circle of artists around Roger Fry (1866–1934) with which she had first exhibited. She had been invited by Fry to show in his exhibition <i>Quelques Independents Anglais</i> at the Galerie Barbazanges in Paris in May 1912, alongside Frederick Etchells (1886–1973), Charles Ginner (1878–1952), Spencer Gore (1878–1914), Wyndham Lewis (1882–1957), Vanessa Bell (1879–1961) and Duncan Grant (1885–1978), but in 1912 she also became friends with the future Vorticists Wyndham Lewis and Jessica Dismorr (1885–1939). Saunders would become one of the key members of the Vorticist Group although she later claimed that only a few of the Vorticists – Dismorr, Etchells, William Roberts, Edward Wadsworth and Lewis – were known to her personally. In 1915–16 she produced a number of abstract Vorticist compositions (see, for example, <i>Vorticist Design </i>c.1915, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/saunders-vorticist-design-t15089\" title=\"View the details of this artwork\"><span>T15089</span></a>) having signed the Vorticist Manifesto published in <i>Blast</i> no.1 in July 1914. She exhibited in the two Vorticist exhibitions at the Doré Gallery, London in June 1915 and the Penguin Club, New York in January 1917. Her works of this period employed a distinctive interpretation of the dynamic geometric language of the movement in the combination of jagged diagonal forms with curved shapes and figurative elements, as seen in <i>Abstract Multi-coloured Design</i> c.1915 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/saunders-abstract-multicoloured-design-t00624\" title=\"View the details of this artwork\"><span>T00624</span></a>) in which a figure is mounted on a form that resembles a diagonally thrusting rocket.</p>\n<p>By 1919 Saunders had become estranged from Lewis and did not join Group X, Lewis’s attempt to regroup former Vorticists, which held one exhibition in 1920.<i> </i>Like a number of other Vorticist artists, she returned to figuration after the First World War, once more working in a post-impressionist idiom. <i>View of Port Isaac</i> is one of a group of works by Saunders in Tate’s collection that were inherited by the artist’s sister Ethel and remained in her family by descent until being acquired by Tate.</p>\n<p>\n<b>Further reading</b>\n<br/>Richard Cork, <i>Vorticism and its Allies</i>, exhibition catalogue, Arts Council of Great Britain, Hayward Gallery, London 1974, pp.93–4.<br/>Brigid Peppin, <i>Helen Saunders 1885–1963</i>, exhibition catalogue, Ashmolean Museum, Oxford and The Graves Art Gallery, Sheffield 1996, cat. no.41, p.51.<br/>Jane Beckett and Deborah Cherry, ‘Modern Women, Modern Spaces: Women, Metropolitan Culture and Vorticism’, in Katy Deepwell (ed.), <i>Women Artists and Modernism</i>, Manchester 1998, pp.46–7.<br/>Mark Antliffe and Vivien Greene (eds.), <i>The Vorticists: Manifesto for a Modern World</i>, exhibition catalogue, Tate Britain, London 2011, pp.117, 188.</p>\n<p>Emma Chambers<br/>January 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-01-23T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		true		artwork
Oil paint on canvas	[ { "append_role_to_name": false, "date": "1945–2017", "fc": "Barkley L. Hendricks", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/barkley-l-hendricks-14929" } ]	120,954	[ { "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" } ]	1,974	<a href="https://www.tate.org.uk/art/artists/barkley-l-hendricks-14929" aria-label="More by Barkley L. Hendricks" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Barkley L. Hendricks</a>	Family Jules NNN Naked Niggahs	2,019		[]	Presented by the American Fund for the Tate Gallery, courtesy of the North American Acquisitions Committee 2015	T15093	{ "id": 6, "meta": { "type": "art.Classification" } }			7012149 7014406 1002782 7007710	Barkley L. Hendricks	1,974	[]	<p>Hendricks made four paintings featuring George Jules Taylor, one of his former students at Yale University. The other paintings showed him dressed in contemporary fashions, while this one depicts him nude except for his glasses. Hendricks was already a well-known African-American painter, and his decision to place a naked black male figure in the position of the traditional female ‘odalisque’ was extremely radical. As the title underlines, the painting confronts white fears and sexual stereotypes surrounding the black male. These issues are heightened by a realistic representational style that went against contemporary trends in black American art.</p><p><em>Gallery label, October 2016</em></p>	false	1	https://media.tate.org.u…T15/T15093_9.jpg	14929	painting oil paint canvas	[ { "artistRoomsTour": false, "dateText": "5 November 2016 – 31 August 2025", "endDate": "2025-08-31", "exhibitionLegs": [ { "dateText": "5 November 2016 – 5 February 2017", "endDate": "2017-02-05", "id": 9876, "startDate": "2016-11-05", "venueName": "Art Gallery of New South Wales (Sydney, Australia)", "venueWebsiteUrl": "http://www.artgallery.nsw.gov.au" }, { "dateText": "18 March 2017 – 16 July 2017", "endDate": "2017-07-16", "id": 10083, "startDate": "2017-03-18", "venueName": "Auckland Art Gallery (Auckland, New Zealand)", "venueWebsiteUrl": null }, { "dateText": "11 August 2017 – 4 February 2018", "endDate": "2018-02-04", "id": 10738, "startDate": "2017-08-11", "venueName": "Seoul Olympic Museum of Art (Seoul, South Korea)", "venueWebsiteUrl": null }, { "dateText": "24 March 2018 – 24 June 2018", "endDate": "2018-06-24", "id": 10739, "startDate": "2018-03-24", "venueName": "Yokohama Museum of Art (Yokohama, Japan)", "venueWebsiteUrl": null }, { "dateText": "13 July 2018 – 28 October 2018", "endDate": "2018-10-28", "id": 11700, "startDate": "2018-07-13", "venueName": "Kaohsiung Museum of Fine Arts (Kaohsiung, Taiwan)", "venueWebsiteUrl": null }, { "dateText": "10 November 2023 – 14 April 2024", "endDate": "2024-04-14", "id": 14116, "startDate": "2023-11-10", "venueName": "LWL-Landesmuseum für Kunst und Kulturgeschichte Westfälisches (Munster, Germany)", "venueWebsiteUrl": "http://landesmuseum.lwl.org" }, { "dateText": "23 November 2024 – 3 March 2025", "endDate": "2025-03-03", "id": 16283, "startDate": "2024-11-23", "venueName": "Worcester Art Museum (Worcester, USA)", "venueWebsiteUrl": "http://www.worcesterart.org" }, { "dateText": "1 April 2025 – 31 August 2025", "endDate": "2025-08-31", "id": 15578, "startDate": "2025-04-01", "venueName": "External", "venueWebsiteUrl": null } ], "id": 8136, "startDate": "2016-11-05", "title": "Nude: art from the Tate collection", "type": "Tate partnerships & programmes" }, { "artistRoomsTour": false, "dateText": "18 November 2020 – 28 November 2021", "endDate": "2021-11-28", "exhibitionLegs": [ { "dateText": "18 November 2020 – 28 November 2021", "endDate": "2021-11-28", "id": 14472, "startDate": "2020-11-18", "venueName": "Tate Liverpool (Liverpool, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/liverpool/" } ], "id": 11826, "startDate": "2020-11-18", "title": "Whose Tradition?", "type": "Collection based display" } ]	Family Jules: NNN (No Naked Niggahs)	1,974	Tate	1974		CLEARED	6	support: 1681 × 1832 mm frame: 1978 × 1828 × 108 mm	accessioned work	Tate	Presented by the <a href="/search?gid=999999976" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">American Fund for the Tate Gallery</a>, courtesy of the North American Acquisitions Committee 2015	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Family Jules: NNN (No Naked Niggahs)</i> is a large painting showing a black man, naked but for a pair of round glasses, smoking a hash pipe on a luxurious white couch. Behind the couch the wall is decorated with ornate Moroccan tiles and thrown over the couch to the left of the figure there is a printed shirt; the print shows a white woman, and her face is turned towards the figure. The man’s right leg is bent with his foot resting on the seat of the couch while his left leg stretches to a rug on the floor. The composition crops his foot from the image as well as his outstretched left hand. Jules looks towards the viewer with his head tilted slightly back. The artist has captured a reflection of light in his glasses.</p>\n<p>The painting is one of a small series of four paintings that Hendricks made at this time featuring George Jules Taylor, a former student from a painting class which Hendricks ran at Yale University. In the other paintings Jules is dressed in contemporary fashions, adopts everyday poses, and is set against monochrome backgrounds, but in this image Hendricks paints Taylor nude except for his glasses, and appropriates imagery associated with iconic twentieth century paintings such as Henri Matisse’s <i>Nu bleu (Souvenir de Biskra)</i> 1907 (Baltimore Museum of Art). By positioning a naked black male figure in the place of the female ‘odalisque’, Hendricks was adopting an extremely radical stance. Curator Trevor Schoonmaker has described how the painting confronts fears and stereotypes surrounding the black male:</p>\n<p class=\"cttext\">\n</p><blockquote>Hendricks makes it known through his title how representations of African American nudes have been received, feared, and censored; in doing so he directly tackles the widely accepted notion of the hypersexualised black body that continues to be codified and consumed around the globe. His response seems to say, ‘If this is what you expect, then this is what I am going to give you.’</blockquote>\n<blockquote>(Schoonmaker 2008, p.25.)</blockquote>\n<p>Schoonmaker does not mention the fact that Hendricks has painted the face of a white woman directed towards the figure – this is one of the subtlest features of the painting and complicates its racial and sexual politics further, magnified by its deliberately provocative title.</p>\n<p>If the painting constituted a canny response to white fears and pre-conceptions of the black male body, so too can it be seen as a defence of a particular form of representation in the contested field of black art at this time. In the late 1960s and early 1970s many artists turned to African art to make idealised images of black subjects, whereas Hendricks was known for his more realistic images of everyday black figures. The art historian Richard J. Powell has written: ‘[Hendricks’s] portraits of the 1970s – black, beautiful, and suave – stood apart from the majority of black cultural representations produced during this period. The jarring combination of a droll, self-effacing humour with an unnerving naturalism that bordered on the profane was Hendricks’s artistic trademark.’ (Powell 2002, p.151.)</p>\n<p>However in this particular painting, Hendricks not only confronted tendencies to ‘Africanise’ or idealise the black body, but also tackled the reluctance of black artists to represent naked subjects. Powell has explained why black artists at this time tended not to make this kind of an image:</p>\n<p class=\"cttext\">\n</p><blockquote>Beyond the larger societal restrictions under which American artists had long operated (even when confronting the nude’s widely accepted position in classical and Western art), the reactionary values of many African Americans prevented artists from depicting blacks in ways that departed from the conservative or social-realistic. This self-censorship emanated from artists who worked within black communities, as well as from artistic ‘outsiders’ who feared that if they created sexually provocative images of blacks they would be perceived as racists or pornographers. All these factors, along with a history of assumptions by social scientists about pathology and moral depravity in black communities, discouraged artists from creating images that would have supplied the visual fodder for these pernicious views. Not until the late 1960s – with the onslaught of a sexual and social revolution – would a few artists and select audiences feel comfortable enough to explore the formal and psychological implications of black nudes in art.</blockquote>\n<blockquote>(Powell 2002, p.146.)</blockquote>\n<p>\n<i>Family Jules</i> can thus be seen as a critical intervention in many debates around the representation of the black body in the early 1970s, as well as a provocative and witty painting.</p>\n<p>\n<b>Further reading</b>\n<br/>Thelma Golden, <i>Black Male: Representations of Masculinity in Contemporary American Art</i>, exhibition catalogue, Whitney Museum of American Art, New York 1995.<br/>Richard J. Powell, <i>Black Art: A Cultural History</i>,<i> </i>London 2002.<br/>Trevor Schoonmaker, <i>Birth of the Cool</i>, exhibition catalogue, Nasher Museum of Art, Duke University, Durham, North Carolina 2008, p.25.</p>\n<p>Mark Godfrey<br/>November 2010</p>\n</div>\n", "display_name": "Summary", "publication_date": "2012-08-28T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Hendricks made four paintings featuring George Jules Taylor, one of his former students at Yale University. The other paintings showed him dressed in contemporary fashions, while this one depicts him nude except for his glasses. Hendricks was already a well-known African-American painter, and his decision to place a naked black male figure in the position of the traditional female ‘odalisque’ was extremely radical. As the title underlines, the painting confronts white fears and sexual stereotypes surrounding the black male. These issues are heightened by a realistic representational style that went against contemporary trends in black American art.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2016-10-12T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]	[]	null	false		false		artwork
Video, high definition, projection, colour and sound	[ { "append_role_to_name": false, "date": "born 1951", "fc": "Bill Viola", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/bill-viola-2333" } ]	120,955	[ { "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/bill-viola-2333" aria-label="More by Bill Viola" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Bill Viola</a>	Messenger	2,019		[]	Presented by the Chaplaincy to the Arts and Recreation in North East England, Durham 2016	T15094	{ "id": 10, "meta": { "type": "art.Classification" } }			7013905 7007567 1002551 7007568 7012149	Bill Viola	1,996	[]	<p><span>The Messenger</span> 1996 is a video and sound installation with a running time of twenty-eight minutes and twenty-eight seconds. It exists in an edition of three with one artist’s proof; Tate’s copy is number one in the edition. The other two copies in the edition are in in the collections of the Guggenheim Museum, New York and Albright-Knox Art Gallery, Buffalo. The artist has described the work in detail as follows:</p>	false	1	https://media.tate.org.u…T15/T15094_9.jpg	2333	time-based media video high definition projection colour sound	[ { "artistRoomsTour": false, "dateText": "22 January 2019 – 31 March 2019", "endDate": "2019-03-31", "exhibitionLegs": [ { "dateText": "22 January 2019 – 31 March 2019", "endDate": "2019-03-31", "id": 12611, "startDate": "2019-01-22", "venueName": "Royal Academy of Arts (London, UK)", "venueWebsiteUrl": "http://www.royalacademy.org.uk" } ], "id": 10401, "startDate": "2019-01-22", "title": "Bill Viola / Michelangelo", "type": "Loan-out" } ]	The Messenger	1,996	Tate	1996		CLEARED	10	duration: 28min, 28sec	accessioned work	Tate	Presented by the Chaplaincy to the Arts and Recreation in North East England, Durham 2016	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>The Messenger</i> 1996 is a video and sound installation with a running time of twenty-eight minutes and twenty-eight seconds. It exists in an edition of three with one artist’s proof; Tate’s copy is number one in the edition. The other two copies in the edition are in in the collections of the Guggenheim Museum, New York and Albright-Knox Art Gallery, Buffalo. The artist has described the work in detail as follows:</p>\n<p class=\"cttext\">\n</p><blockquote>A large image is projected on a screen. The image sequence begins with a small, central, luminous, abstract form, shimmering and undulating against a deep blue-black void. Gradually the luminous shape begins to get larger and less distorted, and it soon becomes apparent that we are seeing a human form, illuminated, rising toward us from under the surface of a body of water. The water becomes more still and transparent and the figure more clear on its journey upwards towards us. We identify the figure as a man, pale blue, on his back rising up slowly. After some time, the figure breaks the surface, an act at once startling, relieving and desperate. His pale form emerges into the warm hues of bright light, the water glistening on his body. His eyes immediately open and he releases a long-held breath from the depths, shattering the silence of the image as this forceful primal sound of life resonates momentarily in the space. After a few moments, he inhales deeply, and, with his eyes shut and his mouth closed, he sinks into the depths of the blue-black void to become a shimmering moving point of light once again. The image then returns to its original state and the cycle begins again. <br/>(Quoted in Sparrow (ed.) 1996, p.18.)</blockquote>\n<p>Viola has a long-standing interest in sacred texts and has an eclectic range of influences from Tibetan Buddhism, Japanese festivals of the Dead and Indian Tantric art, to Renaissance painting. With no specific religious agenda, his work addresses the major themes of life, death and spirituality. In his essay, ‘The Art of Bill Viola, A Theological Reflection’, the historian of theology David Jasper has discussed these influences and the possibilities of reading Viola’s installations theologically. Jasper underlines the ways in which Viola’s work lends itself to theological interpretation, without fixing the work’s meaning or seeing Viola as a spiritual or religious artist: ‘Rather his central concerns provoke the possibility of theological reflection and inhabit the extremes of human experience which theology seeks to articulate.’ (David Jasper, ‘The Art of Bill Viola, A Theological Reflection’, in Sparrow (ed.) 1996, p.13.)</p>\n<p>Since the 1980s Viola has referenced traditional religious themes using his own contemporary form of spiritual iconography in video installations such as<i> Room for St John of the Cross</i> 1983 (Museum of Contemporary Art, Los Angeles) or <i>Nantes Triptych</i> 1992 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/viola-nantes-triptych-t06854\" title=\"View the details of this artwork\"><span>T06854</span></a>), which was originally made for a seventeenth-century chapel in Nantes and is now in Tate’s collection. The central panel of <i>Nantes Triptych</i> shows a body floating in water, the visual metaphor of the human figure submerged in water being a frequently recurring motif within Viola’s work. The artist has spoken about his traumatic childhood experience of nearly drowning, though he also stresses the elemental significance of water within world religions and spiritual imagery transcending religious specificity. The art historian John Walsh has argued that the water in <i>Five Angels for the Millennium</i> 2001 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/viola-five-angels-for-the-millennium-t11805\" title=\"View the details of this artwork\"><span>T11805</span></a>) – and in Viola’s work more generally – plays a significant role in expressing Viola’s spiritual concerns by evoking ‘a luminous void of unknown dimensions where the laws of physics seem suspended and the borders between the infinite cosmos and the finite human body merge’ (in <i>Bill Viola,</i> <i>The Passions</i>, exhibition catalogue, J. Paul Getty Museum, Los Angeles 2003, p.146).</p>\n<p>Viola’s imagery often incorporates the four elements of earth, air, fire and water. Water is also a widely recognised symbol of the unconscious mind. The dramatic moment when the figure in <i>The Messenger</i> emerges from the water, coming up for a sharp intake of breath also serves as a reminder of the importance of air, in particular the concept of the breath as ‘prana’ or life-force within Eastern philosophy. The repetition of the figure’s immersion, submersion, ascension and eventual resurfacing invites contemplation of the threshold between depth and surface, creating a gnostic vision of human experience. The deliberately ambiguous title of <i>The Messenger</i> could be interpreted within the Christian context as referring to an angel or a prophet. Yet the work poses questions that are deliberately left unanswered. The viewer is left to decide whether the figure immersed in a state of enlightenment, or drowning; whether he is rising from a murky underworld into clarity and light, and, if so, why he sinks into the depths again.</p>\n<p>\n<i>The Messenger</i> was commissioned by Canon Bill Hall on behalf of The Chaplaincy to the Arts and Recreation in North East England and was first shown in Durham Cathedral.</p>\n<p>\n<b>Further reading</b>\n<br/>Felicity Sparrow (ed.), <i>Bill Viola: The Messenger</i>, The Chaplaincy to the Arts and Recreation in North East England, Durham 1996.<br/>Jungu Yoon, <i>Spirituality in Contemporary Art, The Idea of the Numinous</i>, London 2010.</p>\n<p>Ann Coxon<br/>January 2016</p>\n</div>\n", "display_name": "Summary", "publication_date": "2020-01-08T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Cork, plastic, metal and paper	[ { "append_role_to_name": false, "date": "born 1939", "fc": "Liliane Lijn", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/liliane-lijn-1511" } ]	120,956	[ { "id": 999999876, "shortTitle": "Tate Britain" }, { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999872, "shortTitle": "Works on display" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,964	<a href="https://www.tate.org.uk/art/artists/liliane-lijn-1511" aria-label="More by Liliane Lijn" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Liliane Lijn</a>	Time is Change	2,019		[]	Purchased with funds provided by the Denise Coates Foundation on the occasion of the 2018 centenary of women gaining the right to vote in Britain 2019	T15095	{ "id": 8, "meta": { "type": "art.Classification" } }			7008653 7007567 1002551 7007568 7012149	Liliane Lijn	1,964	[]	<p>Liliane Lijn wrote the text inscribed on this ‘poem machine’. When it rotates, the central band of repeated words appears to mutate. New words seem to appear. ‘Whenever’ reads as ‘never’ and ‘wherever’ as ‘here’. Activated by movement, language is no longer linear. Lijn said: ‘When I made the Poem Machines, I wanted to renew the power of the word. I believed that words had been emptied of their meaning and only by dissolving them back into their primal vibration could they renew themselves.’</p><p><em>Gallery label, May 2023</em></p>	false	1	https://media.tate.org.u…15/T15095_10.jpg	1511	sculpture cork plastic metal paper	[ { "artistRoomsTour": false, "dateText": "19 December 2022", "endDate": null, "exhibitionLegs": [ { "dateText": null, "endDate": null, "id": 15042, "startDate": null, "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 12369, "startDate": "2022-12-19", "title": "Gallery 31", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "24 May 2025 – 5 October 2025", "endDate": "2025-10-05", "exhibitionLegs": [ { "dateText": "24 May 2025 – 5 October 2025", "endDate": "2025-10-05", "id": 16224, "startDate": "2025-05-24", "venueName": "Tate St Ives (St Ives, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/stives/" } ], "id": 13305, "startDate": "2025-05-24", "title": "Liliane Lijn", "type": "Exhibition" } ]	Time is Change	1,964	Tate	1964–5		CLEARED	8	object: 375 × 245 × 245 mm	accessioned work	Tate	Purchased with funds provided by the Denise Coates Foundation on the occasion of the 2018 centenary of women gaining the right to vote in Britain 2019	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Time is Change</i> 1964–5 consists of a white truncated cone affixed to a motorised turntable that is usually sunk into a plinth. When the work is activated, the cone rotates and appears to be floating above the plinth. It was made from one of a small number of cork cones that were found by Lijn’s partner, the sculptor Takis (born 1925), and given to her. The cone is inscribed with two-toned blue Letraset text written by Lijn. It reads: ‘TIME / IS / CHANGE/ WHENEVER WHEREVER / WHENEVER WHEREVER / WHENEVER WHEREVER / MATTER / FROZEN / LIGHT.’ When the cone rotates, the central bands of repeated words appear to mutate subliminally so that ‘whenever’ reads as ‘never’ and ‘wherever’ as ‘here’.</p>\n<p>\n<i>Time is Change</i> was made in Paris before Lijn moved to London in 1966. The work is one of Lijn’s ‘poem machines’,<i> </i>a series of kinetic sculptures that had earlier formed the subject of her first solo exhibition held at the gallery of the Librairie Anglaise in Paris in 1963. The short texts on these cylinder drums and cones were written either by herself or taken from poems by friends – predominantly Nazli Nour, George Andrews and Leonard D Marshall – and were created in the ambience of the American literary avant-garde living in Paris in the early 1960s. The dematerialisation of language enacted by Lijn’s poem machines shared similarities with the cut-up texts of William Burroughs and Brion Gysin, who were familiar with Lijn’s work. Upon her move to London in 1966, with the invitation for a solo exhibition at Signals, Lijn’s poem machines positioned her at the forefront of early developments in the otherwise male-dominated field of kinetic art and concrete poetry in Britain. (Following the closure of the Signals gallery she showed instead in 1967 at Indica Gallery, where she exhibited a group of <i>Liquid Reflections – </i>see Tate<i> </i><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lijn-liquid-reflections-t01828\" title=\"View the details of this artwork\"><span>T01828</span></a>.) Lijn’s poem machines are activated by movement, their rotation dissolving the linearity of language. Yet they function as a spatial form of concrete poetry that is as much about destruction as a concretising of language in space. The artist has said, ‘When I made the Poem Machines, I wanted to renew the power of the word. I believed that words had been emptied of their meaning and only by dissolving them back into their primal vibration could they renew themselves.’ (Lijn 2002, p.79.)</p>\n<p>In the late 1970s Lijn’s approach to sculpture markedly changed away from a quasi-scientific deployment of material as seen in <i>Time is Change </i>and towards a more emotional language that could also articulate a clear sense of feminist mythology and her own identity. Works such as <i>Bridal </i>Wound 1986–90 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lijn-bridal-wound-t15097\" title=\"View the details of this artwork\"><span>T15097</span></a>) and <i>Headborn </i>1987–90 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lijn-headborn-t15096\" title=\"View the details of this artwork\"><span>T15096</span></a>)<i> </i>exemplify this dynamic shift in her practice.</p>\n<p>\n<b>Further reading</b>\n<br/>Liliane Lijn, in conversation with Guy Brett, ‘Lijn – Brett: An E-mail Dialogue’, in <i>Light and Memory</i>, exhibition catalogue, Rocca di Umbertide Centro per l’Arte Contemporanea, Perugia 2002, pp.69–83.<br/>David Alan Mellor, <i>Liliane Lijn: Works 1959–1980</i>, exhibition catalogue, Mead Gallery, Warwick Arts Centre, Coventry 2005.<br/>Liliane Lijn, in conversation with Althea Greenan, ‘Adrift in the depth of our mind’s eye’, in <i>Cosmic Dramas</i>, exhibition catalogue, Middlesbrough Institute of Modern Art 2013, pp.34–49.<br/>Anna McNay, ‘Liliane Lijn: Interview’, <i>Studio International</i>, 12 February 2014, <a href=\"https://www.studiointernational.com/index.php/liliane-lijn-interview\">https://www.studiointernational.com/index.php/liliane-lijn-interview</a>, accessed 21 August 2018.</p>\n<p>Laura Castagnini<br/>August 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Liliane Lijn wrote the text inscribed on this ‘poem machine’. When it rotates, the central band of repeated words appears to mutate. New words seem to appear. ‘Whenever’ reads as ‘never’ and ‘wherever’ as ‘here’. Activated by movement, language is no longer linear. Lijn said: ‘When I made the Poem Machines, I wanted to renew the power of the word. I believed that words had been emptied of their meaning and only by dissolving them back into their primal vibration could they renew themselves.’</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2023-05-18T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]	[]	null	false		true		artwork
Glass, bronze and leather	[ { "append_role_to_name": false, "date": "born 1939", "fc": "Liliane Lijn", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/liliane-lijn-1511" } ]	120,957	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999784, "shortTitle": "Works on loan" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,987	<a href="https://www.tate.org.uk/art/artists/liliane-lijn-1511" aria-label="More by Liliane Lijn" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Liliane Lijn</a>	Headborn	2,019		[]	Purchased with funds provided by the Denise Coates Foundation on the occasion of the 2018 centenary of women gaining the right to vote in Britain 2019	T15096	{ "id": 8, "meta": { "type": "art.Classification" } }			7008653 7007567 1002551 7007568 7012149	Liliane Lijn	1,987	[]	<p>This is one of several sculptures Lijn made in a traditional glass factory in Switzerland. They were created by blowing hot glass into a wooden mould made from Lijn’s drawings. The head shapes were then cut and pulled apart or torched with fire. She said of this process: ‘As I came to understand how the glass reacted, I used a blowtorch to open a wound in the surface of the glass heads. Using the torch was extraordinary since the glass opened slowly and painfully, but at the same time it was very erotic.’</p><p><em>Gallery label, August 2019</em></p>	false	1	https://media.tate.org.u…T15/T15096_9.jpg	1511	sculpture glass bronze leather	[ { "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": "3 April 2024 – 23 March 2025", "endDate": "2025-03-23", "exhibitionLegs": [ { "dateText": "3 April 2024 – 22 September 2024", "endDate": "2024-09-22", "id": 15774, "startDate": "2024-04-03", "venueName": "Haus der Kunst (Munich, Germany)", "venueWebsiteUrl": null }, { "dateText": "14 November 2024 – 23 March 2025", "endDate": "2025-03-23", "id": 15775, "startDate": "2024-11-14", "venueName": "Museum Moderner Kunst Stiftung Ludwig Wien (Vienna, Austria)", "venueWebsiteUrl": null } ], "id": 12949, "startDate": "2024-04-03", "title": "Liliane Lijn", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "24 May 2025 – 5 October 2025", "endDate": "2025-10-05", "exhibitionLegs": [ { "dateText": "24 May 2025 – 5 October 2025", "endDate": "2025-10-05", "id": 16224, "startDate": "2025-05-24", "venueName": "Tate St Ives (St Ives, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/stives/" } ], "id": 13305, "startDate": "2025-05-24", "title": "Liliane Lijn", "type": "Exhibition" } ]	Headborn	1,987	Tate	1987–90		CLEARED	8	object: 414 × 303 × 285 mm	accessioned work	Tate	Purchased with funds provided by the Denise Coates Foundation on the occasion of the 2018 centenary of women gaining the right to vote in Britain 2019	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Headborn</i> 1987–90 is an object that combines two materials formed in fire – glass and bronze. The glass element is shaped like a head and neck with a large hole blown through the top. It is transparent other than blue veins snaking vertically down its surface. The irregular spherical form tapers down to a narrow, ribbed opening at the bottom where it meets a patinated bronze tube that winds around upon itself to create a base. The work’s title suggests an otherworldly birth narrative that implies delivery from the head. <i>Headborn</i> was one of the earliest works in which the artist used bronze. Her foray into this material was inspired by an exhibition of Roman bronze figures found in the Tiber river in Italy, that were broken and pieced together for display. She said: ‘I wanted to use bronze in a way that had not been tried before. To use this very traditional opaque and solid material to express transparency and transformation.’ (Lijn 2002, p.77.)</p>\n<p>\n<i>Headborn </i>is from Lijn’s <i>Torn Heads </i>series, a group of works she began in 1986, working in a traditional glass factory located near Lake Luzern in central Switzerland. Assisted by two technicians, Lijn’s process involved creating a blown glass spherical form and then bursting it open by cutting, manipulating and torching the glass with fire. She described the series in autobiographical terms: ‘My idea was that it was torn, that my head was torn apart but also – it was like a wound – and also it was like hair. It was wound, hair, vulva.’ (Lijn 2013, p.39.) She also talked of the process of manipulating the blown glass as the creation of a wound that was both painful and erotic: ‘As I came to understand how the glass reacted, I used a blow torch to open a wound in the surface of the glass heads. Using the torch was extraordinary since the glass opened slowly and painfully, but at the same time it was very erotic.’ (Lijn 2002, p.77.) <i>Bridal Wound </i>1986–90 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lijn-bridal-wound-t15097\" title=\"View the details of this artwork\"><span>T15097</span></a>) and <i>Armoured Head </i>1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lijn-armoured-head-t15098\" title=\"View the details of this artwork\"><span>T15098</span></a>) are also from the <i>Torn Heads </i>series.</p>\n<p>In turning to blown glass, the <i>Torn Heads</i> marked a shift in Lijn’s use of glass as a material for her work: from a scientific tool through which to transform light, to an emotional medium that she used to express pain and suffering. Lijn has utilised glass in her work since the 1970s, initially in the form of optical glass prisms sourced from centurion tank gun sights and periscopes. She used these prisms to investigate the physical properties of light and its spectral colour emissions and to create the first heads of her totemic figures such as <i>Feathered Lady</i> 1979, <i>Heshe</i> 1980 and, later, <i>Lady of the Wild Things</i> 1983. Lijn felt that the prisms represented ‘brain ... mind ... clarity ... vision ... the enlightened mind’, while blown glass enabled her to venture ‘<i>into</i> emotions’ (Lijn 2013, p.39). In addition to making the individual sculptures in the <i>Torn Heads </i>series, Lijn used blown glass for the heads of animated and caged female archetypes in large installations such as <i>The Bride</i> 1988 and <i>The Electric Bride</i> 1989. Lijn’s material shift in her use of glass was part of a broader change in the character of her work during the late 1970s and 1980s. She has said: ‘It was around 1980 when I realised that [feminist mythology] was what really interested me ... I wanted to find a new way of looking at the feminine and to bring into that everything: plants, animals, humans and machines.’ (Quoted in McNay 2014, accessed 21 August 2018.)</p>\n<p>Lijn’s subsequent three-dimensional work articulates a feminist imagery through references to female mythology and personal biography, including the monumental performing <i>Goddesses</i> (<i>Lady of the Wild Things</i> 1983 and <i>Women of War</i> 1986), the small series of blown glass <i>Torn Heads</i> 1986–90 and later bronze works cast from the artist’s body (<i>Lilith</i> 2001) and incorporating video (<i>Paradise Lost</i> 2000). </p>\n<p>\n<b>Further reading</b>\n<br/>Liliane Lijn, in conversation with Guy Brett, ‘Lijn – Brett: An E-mail Dialogue’, in <i>Light and Memory</i>, exhibition catalogue, Rocca di Umbertide Centro per l’Arte Contemporanea, Perugia 2002, pp.69–83.<br/>David Alan Mellor, <i>Liliane Lijn: Works 1959–1980</i>, exhibition catalogue, Mead Gallery, Warwick Arts Centre, Coventry 2005.<br/>Liliane Lijn, in conversation with Althea Greenan, ‘Adrift in the depth of our mind’s eye’, in <i>Cosmic Dramas</i>, exhibition catalogue, Middlesbrough Institute of Modern Art 2013, pp.34–49.<br/>Anna McNay, ‘Liliane Lijn: Interview’, <i>Studio International</i>, 12 February 2014, <a href=\"https://www.studiointernational.com/index.php/liliane-lijn-interview\">https://www.studiointernational.com/index.php/liliane-lijn-interview</a>, accessed 21 August 2018.</p>\n<p>Laura Castagnini<br/>August 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of several sculptures Lijn made in a traditional glass factory in Switzerland. They were created by blowing hot glass into a wooden mould made from Lijn’s drawings. The head shapes were then cut and pulled apart or torched with fire. She said of this process: ‘As I came to understand how the glass reacted, I used a blowtorch to open a wound in the surface of the glass heads. Using the torch was extraordinary since the glass opened slowly and painfully, but at the same time it was very erotic.’</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2019-08-06T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]	[]	null	true		false		artwork
Glass, ostrich feathers, felt and marble	[ { "append_role_to_name": false, "date": "born 1939", "fc": "Liliane Lijn", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/liliane-lijn-1511" } ]	120,960	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999784, "shortTitle": "Works on loan" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,986	<a href="https://www.tate.org.uk/art/artists/liliane-lijn-1511" aria-label="More by Liliane Lijn" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Liliane Lijn</a>	Bridal Wound	2,019		[]	Purchased with funds provided by the Denise Coates Foundation on the occasion of the 2018 centenary of women gaining the right to vote in Britain 2019	T15097	{ "id": 8, "meta": { "type": "art.Classification" } }			7008653 7007567 1002551 7007568 7012149	Liliane Lijn	1,986	[]	<p>This is one of several sculptures Lijn made in a traditional glass factory in Switzerland. They were created by blowing hot glass into a wooden mould made from Lijn’s drawings. The head shapes were then cut and pulled apart or torched with fire. She said of this process: ‘As I came to understand how the glass reacted, I used a blowtorch to open a wound in the surface of the glass heads. Using the torch was extraordinary since the glass opened slowly and painfully, but at the same time it was very erotic.’</p><p><em>Gallery label, August 2019</em></p>	false	1	https://media.tate.org.u…T15/T15097_9.jpg	1511	sculpture glass ostrich feathers felt marble	[ { "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": "3 April 2024 – 23 March 2025", "endDate": "2025-03-23", "exhibitionLegs": [ { "dateText": "3 April 2024 – 22 September 2024", "endDate": "2024-09-22", "id": 15774, "startDate": "2024-04-03", "venueName": "Haus der Kunst (Munich, Germany)", "venueWebsiteUrl": null }, { "dateText": "14 November 2024 – 23 March 2025", "endDate": "2025-03-23", "id": 15775, "startDate": "2024-11-14", "venueName": "Museum Moderner Kunst Stiftung Ludwig Wien (Vienna, Austria)", "venueWebsiteUrl": null } ], "id": 12949, "startDate": "2024-04-03", "title": "Liliane Lijn", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "24 May 2025 – 5 October 2025", "endDate": "2025-10-05", "exhibitionLegs": [ { "dateText": "24 May 2025 – 5 October 2025", "endDate": "2025-10-05", "id": 16224, "startDate": "2025-05-24", "venueName": "Tate St Ives (St Ives, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/stives/" } ], "id": 13305, "startDate": "2025-05-24", "title": "Liliane Lijn", "type": "Exhibition" } ]	Bridal Wound	1,986	Tate	1986–90		CLEARED	8	object: 330 × 310 × 335 mm	accessioned work	Tate	Purchased with funds provided by the Denise Coates Foundation on the occasion of the 2018 centenary of women gaining the right to vote in Britain 2019	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Bridal Wound</i> 1986–90 is a small sculpture in which several black ostrich feathers encircle an irregular semi-transparent glass sphere with a hole bursting through the front. Both are set into a square white marble base. The glass element is shaped like a head and neck, but the work’s title suggests the hole could be a vulva. The artist has described the <i>Torn Heads</i> series of which this work forms a part as follows: ‘My idea was that it was torn, that my head was torn apart but also – it was like a wound – and also it was like hair. It was wound, hair, vulva.’ (Lijn 2013, p.39.) </p>\n<p>Lijn began her <i>Torn Heads </i>series in 1986, working in a traditional glass factory located near Lake Luzern in central Switzerland. Assisted by two technicians, Lijn’s process involved creating a blown glass spherical form and then bursting it open by cutting, manipulating and torching the glass with fire. She described the process of manipulating the blown glass as the creation of a wound that was both painful and erotic: ‘As I came to understand how the glass reacted, I used a blow torch to open a wound in the surface of the glass heads. Using the torch was extraordinary since the glass opened slowly and painfully, but at the same time it was very erotic.’ (Lijn 2002, p.77.) <i>Headborn </i>1987–90 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lijn-headborn-t15096\" title=\"View the details of this artwork\"><span>T15096</span></a>) and <i>Armoured Head </i>1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lijn-armoured-head-t15098\" title=\"View the details of this artwork\"><span>T15098</span></a>) are also from the <i>Torn Heads </i>series.</p>\n<p>In turning to blown glass, the <i>Torn Heads</i> marked a shift in Lijn’s use of glass as a material for her work: from a scientific tool through which to transform light, to an emotional medium that she used to express pain and suffering. Lijn has utilised glass in her work since the 1970s, initially in the form of optical glass prisms sourced from centurion tank gun sights and periscopes. She used these prisms to investigate the physical properties of light and its spectral colour emissions and to create the first heads of her totemic figures such as <i>Feathered Lady</i> 1979, <i>Heshe</i> 1980 and, later, <i>Lady of the Wild Things</i> 1983. Lijn felt that the prisms represented ‘brain ... mind ... clarity ... vision ... the enlightened mind’, while blown glass enabled her to venture ‘<i>into</i> emotions’ (Lijn 2013, p.39). In addition to making the individual sculptures in the <i>Torn Heads </i>series, Lijn used blown glass for the heads of animated and caged female archetypes in large installations such as <i>The Bride</i> 1988 and <i>The Electric Bride</i> 1989. Lijn’s material shift in her use of glass was part of a broader change in the character of her work during the late 1970s and 1980s. She has said: ‘It was around 1980 when I realised that [feminist mythology] was what really interested me ... I wanted to find a new way of looking at the feminine and to bring into that everything: plants, animals, humans and machines.’ (Quoted in McNay 2014, accessed 21 August 2018.)</p>\n<p>Lijn’s subsequent three-dimensional work articulates a feminist imagery through references to female mythology and personal biography, including the monumental performing <i>Goddesses</i> (<i>Lady of the Wild Things</i> 1983 and <i>Women of War</i> 1986), the small series of blown glass <i>Torn Heads</i> 1986–90 and later bronze works cast from the artist’s body (<i>Lilith</i> 2001) and incorporating video (<i>Paradise Lost</i> 2000). </p>\n<p>\n<b>Further reading</b>\n<br/>Liliane Lijn, in conversation with Guy Brett, ‘Lijn – Brett: An E-mail Dialogue’, in <i>Light and Memory</i>, exhibition catalogue, Rocca di Umbertide Centro per l’Arte Contemporanea, Perugia 2002, pp.69–83.<br/>David Alan Mellor, <i>Liliane Lijn: Works 1959–1980</i>, exhibition catalogue, Mead Gallery, Warwick Arts Centre, Coventry 2005.<br/>Liliane Lijn, in conversation with Althea Greenan, ‘Adrift in the depth of our mind’s eye’, in <i>Cosmic Dramas</i>, exhibition catalogue, Middlesbrough Institute of Modern Art 2013, pp.34–49.<br/>Anna McNay, ‘Liliane Lijn: Interview’, <i>Studio International</i>, 12 February 2014, <a href=\"https://www.studiointernational.com/index.php/liliane-lijn-interview\">https://www.studiointernational.com/index.php/liliane-lijn-interview</a>, accessed 21 August 2018.</p>\n<p>Laura Castagnini<br/>August 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of several sculptures Lijn made in a traditional glass factory in Switzerland. They were created by blowing hot glass into a wooden mould made from Lijn’s drawings. The head shapes were then cut and pulled apart or torched with fire. She said of this process: ‘As I came to understand how the glass reacted, I used a blowtorch to open a wound in the surface of the glass heads. Using the torch was extraordinary since the glass opened slowly and painfully, but at the same time it was very erotic.’</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2019-08-06T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]	[]	null	true		false		artwork
Zinc blown glass and metal	[ { "append_role_to_name": false, "date": "born 1939", "fc": "Liliane Lijn", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/liliane-lijn-1511" } ]	120,963	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999784, "shortTitle": "Works on loan" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,990	<a href="https://www.tate.org.uk/art/artists/liliane-lijn-1511" aria-label="More by Liliane Lijn" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Liliane Lijn</a>	Armoured Head	2,019		[]	Purchased with funds provided by the Denise Coates Foundation on the occasion of the 2018 centenary of women gaining the right to vote in Britain 2019	T15098	{ "id": 8, "meta": { "type": "art.Classification" } }			7008653 7007567 1002551 7007568 7012149	Liliane Lijn	1,990	[]	<p>This is one of several sculptures Lijn made in a traditional glass factory in Switzerland. They were created by blowing hot glass into a wooden mould made from Lijn’s drawings. The head shapes were then cut and pulled apart or torched with fire. She said of this process: ‘As I came to understand how the glass reacted, I used a blowtorch to open a wound in the surface of the glass heads. Using the torch was extraordinary since the glass opened slowly and painfully, but at the same time it was very erotic.’</p><p><em>Gallery label, August 2019</em></p>	false	1	https://media.tate.org.u…T15/T15098_9.jpg	1511	sculpture zinc blown glass metal	[ { "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": "3 April 2024 – 23 March 2025", "endDate": "2025-03-23", "exhibitionLegs": [ { "dateText": "3 April 2024 – 22 September 2024", "endDate": "2024-09-22", "id": 15774, "startDate": "2024-04-03", "venueName": "Haus der Kunst (Munich, Germany)", "venueWebsiteUrl": null }, { "dateText": "14 November 2024 – 23 March 2025", "endDate": "2025-03-23", "id": 15775, "startDate": "2024-11-14", "venueName": "Museum Moderner Kunst Stiftung Ludwig Wien (Vienna, Austria)", "venueWebsiteUrl": null } ], "id": 12949, "startDate": "2024-04-03", "title": "Liliane Lijn", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "24 May 2025 – 5 October 2025", "endDate": "2025-10-05", "exhibitionLegs": [ { "dateText": "24 May 2025 – 5 October 2025", "endDate": "2025-10-05", "id": 16224, "startDate": "2025-05-24", "venueName": "Tate St Ives (St Ives, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/stives/" } ], "id": 13305, "startDate": "2025-05-24", "title": "Liliane Lijn", "type": "Exhibition" } ]	Armoured Head	1,990	Tate	1990		CLEARED	8	object: 440 × 385 × 385 mm	accessioned work	Tate	Purchased with funds provided by the Denise Coates Foundation on the occasion of the 2018 centenary of women gaining the right to vote in Britain 2019	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Armoured Head</i> 1990 is a small sculpture in which a wired metal mesh encircles an irregular grey sphere with a hole burst through the front. Made from zinc blown glass, the outside of the inner structure features vertical lines running from top to bottom. The work’s title indicates the presence of armour, acting as protection from threat or violence. </p>\n<p>The sculpture is from Lijn’s <i>Torn Heads</i> series, a group of works she began in 1986, working in a traditional glass factory located near Lake Luzern in central Switzerland. Assisted by two technicians, Lijn’s process involved creating a blown glass spherical form and then bursting it open by cutting, manipulating and torching the glass with fire. She described the series in autobiographical terms: ‘My idea was that it was torn, that my head was torn apart but also – it was like a wound – and also it was like hair. It was wound, hair, vulva.’ (Lijn 2013, p.39.) She also talked of the process of manipulating the blown glass as the creation of a wound that was both painful and erotic: ‘As I came to understand how the glass reacted, I used a blow torch to open a wound in the surface of the glass heads. Using the torch was extraordinary since the glass opened slowly and painfully, but at the same time it was very erotic.’ (Lijn 2002, p.77.) <i>Bridal Wound </i>1986–90 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lijn-bridal-wound-t15097\" title=\"View the details of this artwork\"><span>T15097</span></a>) and <i>Headborn </i>1987–90 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lijn-headborn-t15096\" title=\"View the details of this artwork\"><span>T15096</span></a>) are also from the <i>Torn Heads </i>series.</p>\n<p>In turning to blown glass, the <i>Torn Heads</i> marked a shift in Lijn’s use of glass as a material for her work: from a scientific tool through which to transform light, to an emotional medium that she used to express pain and suffering. Lijn has utilised glass in her work since the 1970s, initially in the form of optical glass prisms sourced from centurion tank gun sights and periscopes. She used these prisms to investigate the physical properties of light and its spectral colour emissions and to create the first heads of her totemic figures such as <i>Feathered Lady</i> 1979, <i>Heshe</i> 1980 and, later, <i>Lady of the Wild Things</i> 1983. Lijn felt that the prisms represented ‘brain ... mind ... clarity ... vision ... the enlightened mind’, while blown glass enabled her to venture ‘<i>into</i> emotions’ (Lijn 2013, p.39). In addition to making the individual sculptures in the <i>Torn Heads </i>series, Lijn used blown glass for the heads of animated and caged female archetypes in large installations such as <i>The Bride</i> 1988 and <i>The Electric Bride</i> 1989. Lijn’s material shift in her use of glass was part of a broader change in the character of her work during the late 1970s and 1980s. She has said: ‘It was around 1980 when I realised that [feminist mythology] was what really interested me ... I wanted to find a new way of looking at the feminine and to bring into that everything: plants, animals, humans and machines.’ (Quoted in McNay 2014, accessed 21 August 2018.)</p>\n<p>Lijn’s subsequent three-dimensional work articulates a feminist imagery through references to female mythology and personal biography, including the monumental performing <i>Goddesses</i> (<i>Lady of the Wild Things</i> 1983 and <i>Women of War</i> 1986), the small series of blown glass <i>Torn Heads</i> 1986–90 and later bronze works cast from the artist’s body (<i>Lilith</i> 2001) and incorporating video (<i>Paradise Lost</i> 2000).</p>\n<p>\n<b>Further reading</b>\n<br/>Liliane Lijn, in conversation with Guy Brett, ‘Lijn – Brett: An E-mail Dialogue’, in <i>Light and Memory</i>, exhibition catalogue, Rocca di Umbertide Centro per l’Arte Contemporanea, Perugia 2002, pp.69–83.<br/>David Alan Mellor, <i>Liliane Lijn: Works 1959–1980</i>, exhibition catalogue, Mead Gallery, Warwick Arts Centre, Coventry 2005.<br/>Liliane Lijn, in conversation with Althea Greenan, ‘Adrift in the depth of our mind’s eye’, in <i>Cosmic Dramas</i>, exhibition catalogue, Middlesbrough Institute of Modern Art 2013, pp.34–49.<br/>Anna McNay, ‘Liliane Lijn: Interview’, <i>Studio International</i>, 12 February 2014, <a href=\"https://www.studiointernational.com/index.php/liliane-lijn-interview\">https://www.studiointernational.com/index.php/liliane-lijn-interview</a>, accessed 21 August 2018.</p>\n<p>Laura Castagnini<br/>August 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of several sculptures Lijn made in a traditional glass factory in Switzerland. They were created by blowing hot glass into a wooden mould made from Lijn’s drawings. The head shapes were then cut and pulled apart or torched with fire. She said of this process: ‘As I came to understand how the glass reacted, I used a blowtorch to open a wound in the surface of the glass heads. Using the torch was extraordinary since the glass opened slowly and painfully, but at the same time it was very erotic.’</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2019-08-06T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]	[]	null	true		false		artwork
3 works on paper, graphite, coloured pencil, oil paint, oil pastel, pastel, enamel, stencil and marbled paper	[ { "append_role_to_name": false, "date": "born 1985", "fc": "Helen Marten", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/helen-marten-21164" } ]	120,964	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	2,015	<a href="https://www.tate.org.uk/art/artists/helen-marten-21164" aria-label="More by Helen Marten" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Helen Marten</a>		2,019		[]	Presented by the artist and Sadie Coles in honour of Sir Nicholas Serota 2018	T15099	{ "id": 5, "meta": { "type": "art.Classification" } }			7010630 7008114 7002445 7008591	Helen Marten	2,015	[]	<p><span>Untitled </span>2016 is a triptych comprising collage, graphite, coloured pencil and oil pastel on paper, with each of its three parts framed separately. All three have a figurative, abstract and still life element, reflecting the composition of Marten’s sculptures in which she brings together a constellation of handmade objects and found debris of consumer culture. Within the three parts of <span>Untitled</span>, the abstract motifs are rendered in oil paint, the still-life elements in coloured pencil and the figurative elements in graphite; in this way, each category of representation is afforded its own medium. This is a formal device which creates a distinction that highlights the juxtaposition of images and textures within the work.</p>	false	1	https://media.tate.org.u…T15/T15099_9.jpg	21164	paper unique 3 works graphite coloured pencil oil paint pastel enamel stencil marbled	[]	Untitled	2,015	Tate	2015		CLEARED	5	support, each: 298 × 420 mm	accessioned work	Tate	Presented by the artist and Sadie Coles in honour of Sir Nicholas Serota 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Untitled </i>2016 is a triptych comprising collage, graphite, coloured pencil and oil pastel on paper, with each of its three parts framed separately. All three have a figurative, abstract and still life element, reflecting the composition of Marten’s sculptures in which she brings together a constellation of handmade objects and found debris of consumer culture. Within the three parts of <i>Untitled</i>, the abstract motifs are rendered in oil paint, the still-life elements in coloured pencil and the figurative elements in graphite; in this way, each category of representation is afforded its own medium. This is a formal device which creates a distinction that highlights the juxtaposition of images and textures within the work.</p>\n<p>Marten is known for works that use an eclectic range of media, including video, sculpture, installation and painting, for which she draws intuitively from the world of advertising, the internet and technology industries to produce ambitious and enigmatic narratives. However, instead of simply appropriating found material, she creates content that frequently revolves around her physical and psychological response to how we order and make sense of material culture. Her juxtapositions of handmade and found objects, such <i>as Guild of Pharmacists</i> 2014 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/marten-guild-of-pharmacists-t14455\" title=\"View the details of this artwork\"><span>T14455</span></a>), explore our perception of and relationship with objects from the everyday world and the way in which they interact with each other, as well as how we order and associate with them over time. Her work also explores the relationship between language and image. While Marten’s objects are often marked by the slick exuberance of consumer culture, each cumulative arrangement follows its own peculiar logic that mimics how we encounter visual information, without the imposition of hierarchical categorisation but rather a sense of everything being connected.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Helen Marten:</i> <i>Olive</i>, Zurich 2013.<br/>\n<i>Helen Marten:</i> <i>Parrot Problems</i>, Cologne 2014.<br/>\n<i>Helen Marten:</i> <i>Drunk Brown House</i>, exhibition catalogue, Serpentine Galleries, London 2016.</p>\n<p>Linsey Young <br/>July 2018 </p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-10-20T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Ink on paper on paper	[ { "append_role_to_name": false, "date": "1937–2020", "fc": "Zarina Hashmi", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/zarina-hashmi-17194" } ]	120,967	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	2,017	<a href="https://www.tate.org.uk/art/artists/zarina-hashmi-17194" aria-label="More by Zarina Hashmi" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Zarina Hashmi</a>		2,019		[]	Purchased with funds provided by the South Asia Acquisition Committee 2019	T15102	{ "id": 5, "meta": { "type": "art.Classification" } }			7012149 7001497 7016722 7000198 1000004 7008136 7002445 7008591	Zarina Hashmi	2,017	[]	<p>This is one of three <span>Untitled </span>collages in Tate’s collection by Zarina Hashmi which date from 2017 (Tate T15100–T15102). Each one is made from off-cuts and printed papers collected by Hashmi throughout her life-long engagement with paper and printmaking. The artist has improvised their abstract compositions by layering and weaving black and white paper, cut into thick and thin strips and simple geometric shapes, ranging from linear dissections of the page to repeated regular triangular forms that echo architectural features. This method of paring down ornament and expression to their essential form is characteristic of Hashmi’s practice throughout her career, in which she has explored themes of displacement, home, memory and silence through the language of minimal abstraction. For instance, <span>Letters from Home</span> 2004 is a series of eight prints – also in Tate’s collection (Tate P80181) – that combines the cartography of homes, floor plans and routes with written correspondence between the artist and her sister based in Pakistan, to consider the place played by home in a life of continual travel. The artist and her family were forced to move to Pakistan from India following Partition in 1947; after several sojourns in locations across Europe and America, she settled in New York in 1967 where she still lives and works. The critic Anushka Rajendran has described the collages and their symbolic association with Hashmi’s past: ‘Here, the strips of paper, which are carefully glued together, seem to suit the precariousness of recalling the past. It is almost as if they were jolted out of the faux certainty of memory to reveal themselves for what they are – an illusion.’ (Rajendran 2009, accessed 27 March 2018.)</p>	false	1	https://media.tate.org.u…T15/T15102_9.jpg	17194	paper unique ink	[]	Untitled	2,017	Tate	2017		CLEARED	5	support: 330 × 279 mm	accessioned work	Tate	Purchased with funds provided by the South Asia Acquisition Committee 2019	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of three <i>Untitled </i>collages in Tate’s collection by Zarina Hashmi which date from 2017 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hashmi-untitled-t15100\" title=\"View the details of this artwork\"><span>T15100</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hashmi-untitled-t15102\" title=\"View the details of this artwork\"><span>T15102</span></a>). Each one is made from off-cuts and printed papers collected by Hashmi throughout her life-long engagement with paper and printmaking. The artist has improvised their abstract compositions by layering and weaving black and white paper, cut into thick and thin strips and simple geometric shapes, ranging from linear dissections of the page to repeated regular triangular forms that echo architectural features. This method of paring down ornament and expression to their essential form is characteristic of Hashmi’s practice throughout her career, in which she has explored themes of displacement, home, memory and silence through the language of minimal abstraction. For instance, <i>Letters from Home</i> 2004 is a series of eight prints – also 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/hashmi-letters-from-home-p80181\" title=\"View the details of this artwork\"><span>P80181</span></a>) – that combines the cartography of homes, floor plans and routes with written correspondence between the artist and her sister based in Pakistan, to consider the place played by home in a life of continual travel. The artist and her family were forced to move to Pakistan from India following Partition in 1947; after several sojourns in locations across Europe and America, she settled in New York in 1967 where she still lives and works. The critic Anushka Rajendran has described the collages and their symbolic association with Hashmi’s past: ‘Here, the strips of paper, which are carefully glued together, seem to suit the precariousness of recalling the past. It is almost as if they were jolted out of the faux certainty of memory to reveal themselves for what they are – an illusion.’ (Rajendran 2009, accessed 27 March 2018.)</p>\n<p>The artist has used of two kinds of paper in these collages to bring emphasis to the tactility of each material through their differences: BFK light paper sourced from France has been printed with dense black ink to contrast with the white Somerset Antique paper. The surface and physicality of printed and handmade paper is of great importance to Hashmi who has spoken of the material’s organic likeness to skin. Here the raw edges and materiality of the pasted paper test the viewer’s perception of negative space. At times the strips of white paper form layered paths that meander through darkness; at others they seep between the seams of two darker adjoining pieces, offering glimpses of light and hope breaking through the weight of the darkness that speaks of memory and upheaval. </p>\n<p>The three <i>Untitled </i>collages were shown in the artist’s solo exhibition <i>Weaving Darkness and Silence</i> at Gallery Espace, New Delhi in February 2018. Considered one of the foremost printmakers in India, as well as an influential figure in the development of modernism in South Asia, Hashmi has also used paper to make wall-based relief sculptures through a process of pulping and moulding. A group of these dating from 1979–80 is in Tate’s collection: <i>I Whispered to the Earth </i>1979 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hashmi-i-whispered-to-the-earth-t13727\" title=\"View the details of this artwork\"><span>T13727</span></a>), <i>Wall II </i>1979 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hashmi-wall-ii-t13728\" title=\"View the details of this artwork\"><span>T13728</span></a>), <i>Fence </i>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/hashmi-fence-t13729\" title=\"View the details of this artwork\"><span>T13729</span></a>) and <i>Pool I (Terracotta) </i>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/hashmi-pool-1-terracotta-t13730\" title=\"View the details of this artwork\"><span>T13730</span></a>).</p>\n<p>\n<b>Further reading</b>\n<br/>Anushka Rajendran, ‘Weaving Darkness and Silence: Zarina Hashmi’, <i>ArtAsiaPacific</i>, November 2009, <a href=\"http://artasiapacific.com/Magazine/WebExclusives/ZarinaHashmiWeavingDarknessAndSilence\">http://artasiapacific.com/Magazine/WebExclusives/ZarinaHashmiWeavingDarknessAndSilence</a>, accessed 27 March 2018.<br/>Allegra Pesenti,<i> Zarina: Paper Like Skin</i>, exhibition catalogue, Hammer Museum of Art Los Angeles 2011.</p>\n<p>Priyesh Mistry<br/>April 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Photocopies on paper, acrylic paint, wood, clay, fabric and string	[ { "append_role_to_name": false, "date": "born 1973", "fc": "Monster Chetwynd", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/monster-chetwynd-12108" } ]	120,972	[ { "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" } ]	2,018	<a href="https://www.tate.org.uk/art/artists/monster-chetwynd-12108" aria-label="More by Monster Chetwynd" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Monster Chetwynd</a>	Jesus and Barabbas Odd Man Out 2011	2,019		[]	Presented by Tate Members 2018	T15103	{ "id": 8, "meta": { "type": "art.Classification" } }			7011781 7008653 7008591	Monster Chetwynd	2,018	[]	<p>Chetwynd often references cultural history. This work is based on a previous performance of the biblical story of Jesus and Barabbas. Both men were condemned to death but custom dictated that one would be pardoned. The crowd chose Barabbas to be released, resulting in Jesus’s crucifixion. Chetwynd is interested in how a democratic choice might be undermined by bribery and corruption. The enlarged reproduction is <span>Bacchanalian Scene</span> 1862 by Richard Dadd (1817–1886), on display in the 1840 gallery.</p><p><em>Gallery label, May 2019</em></p>	false	1	https://media.tate.org.u…15/T15103_10.jpg	12108	sculpture photocopies paper acrylic paint wood clay fabric string	[ { "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" } ]	Jesus and Barabbas (Odd Man Out 2011)	2,018	Tate	2018		CLEARED	8	object: 2900 × 2230 × 610 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> 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>In <i>Jesus and Barabbas (Odd Man Out 2011)</i> 2018 a cluster of small puppets, originally used in Chetwynd’s performance <i>Jesus and Barabbas Puppet Show</i> 2011, cling to the surface of a grossly enlarged photocopy reproduction of a detail from the nineteenth-century artist Richard Dadd’s (1817–1886) painting <i>Bacchanalian Scene</i> 1862 (Tate L01705). The puppets have clay heads and makeshift fabric robes in a range of colours. Some are attached to the centre of the work behind and some dangle from strings in two groups near the bottom of the composition, so that they touch the floor. <i>Jesus and Barabbas Puppet Show</i> was first enacted at Sadie Coles HQ, London as part of the exhibition <i>Odd Man Out</i> in 2011, hence the subtitle of this work. The performance dramatised the Biblical story of Jesus and Barabbas being brought before the crowd. The tale is one of the earliest recorded examples of a ‘rent-a-mob’, with threatened authorities paying members of the crowd to clamour for Barabbas’s release (and thereby for Christ’s crucifixion). The closely packed groups of puppets at the bottom of <i>Jesus and Barabbas (Odd Man Out 2011)</i> suggest this mob atmosphere. Chetwynd’s interest in the story lies in the semblance of a democratic choice belied by bribery and corruption: embedded within the Biblical narrative is an emphatically contemporary theme. The reproduction of Dadd’s Victorian-era painting extends this combination of historic subject matter and contemporary relevance. Dadd’s life and work have featured in various performances by Chetwynd, principally <i>Richard Dadd & the Dance of Death</i> at Tate Britain in 2003, in which Chetwynd and a troupe of performers ‘burst through’ a reproduction of Dadd’s painting <i>The Fairy Feller’s Master-Stroke</i> 1855–64 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/dadd-the-fairy-fellers-master-stroke-t00598\" title=\"View the details of this artwork\"><span>T00598</span></a>). Chetwynd’s <i>Jesus and Barabbas</i> painting expresses a similar idea of breaking through the surface of a picture through its exaggerated ‘figure-ground’ opposition and combination of two-dimensional image and relief elements. The image of Dadd’s central reveller, who looks out to confront the viewer, extends the theme of spectatorship that appears in the tale of Jesus and Barabbas, drawing the viewer into the scene.</p>\n<p>The structure of the work is similar to that of <i>I Want to Be an Insect Protein Entrepreneur </i>2018 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/chetwynd-i-want-to-be-an-insect-protein-entrepreneur-t15105\" title=\"View the details of this artwork\"><span>T15105</span></a>)<i> </i>in the juxtaposition of a flat surface with sculptural elements adhered to the picture plane. Both works reference a previous performance and combine historic imagery with reference to contemporary issues. Chetwynd was christened Alalia Chetwynd and raised as Lali Chetwynd, but has adopted a series of artistic names; from 2006 to September 2013 she worked under the name Spartacus Chetwynd, followed by Marvin Gaye Chetwynd from September 2013 to April 2018, before adopting the moniker Monster Chetwynd in April 2018.Working in film, performance and sculpture, she draws on the history of folk plays and carnival, referencing – often in an irreverent manner – critical moments in cultural history. Chetwynd often works collaboratively with a group of artists and performers; as well as performing together, they will make props, costumes and film sets, some of which are later reused in works such as <i>Jesus and Barabbas (Odd Man Out 2011)</i>.</p>\n<p>\n<b>Further reading</b>\n<br/>Marvin Gaye Chetwynd, <i>Bat Opera</i>, Cologne 2014.</p>\n<p>Linsey Young <br/>May 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Chetwynd often references cultural history. This work is based on a previous performance of the biblical story of Jesus and Barabbas. Both men were condemned to death but custom dictated that one would be pardoned. The crowd chose Barabbas to be released, resulting in Jesus’s crucifixion. Chetwynd is interested in how a democratic choice might be undermined by bribery and corruption. The enlarged reproduction is <i>Bacchanalian Scene</i> 1862 by Richard Dadd (1817–1886), on display in the 1840 gallery.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2019-05-08T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]	[]	null	false		false		artwork
Photocopies on paper, on card	[ { "append_role_to_name": false, "date": "born 1973", "fc": "Monster Chetwynd", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/monster-chetwynd-12108" } ]	120,984	[ { "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" } ]	2,018	<a href="https://www.tate.org.uk/art/artists/monster-chetwynd-12108" aria-label="More by Monster Chetwynd" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Monster Chetwynd</a>	Crazy Bat Lady	2,019		[]	Presented by Tate Members 2018	T15104	{ "id": 5, "meta": { "type": "art.Classification" } }			7011781 7008653 7008591	Monster Chetwynd	2,018	[]	<p>This is a large-scale self-portrait of the artist. It is based on a photograph taken by the artist’s mother. The original image has been manipulated using photocopies and collage, giving the face a mask-like appearance. A bat and a butterfly form the hair or an extravagant hat. The work reflects Chetwynd’s interest in staging and performance and presents a wry take on female stereotypes.</p><p><em>Gallery label, May 2019</em></p>	false	1	https://media.tate.org.u…15/T15104_10.jpg	12108	paper unique photocopies card	[ { "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" } ]	Crazy Bat Lady	2,018	Tate	2018		CLEARED	5	support: 2940 × 1690 × 55 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> 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Crazy Bat Lady</i> 2018 is a large-scale photocopied and collaged self-portrait of the artist in black and white. The support is a shaped board almost three metres high and the image is based on a grossly enlarged photograph of Chetwynd aged thirty, taken by the artist’s mother. The original image has been manipulated to its present state, originally with the intention of using it as a press shot for media interviews. In <i>Crazy Bat Lady</i> the eyes have been re-photocopied and collaged onto the surface, giving the face a mask-like appearance, through which the eyes stare. A bat and a butterfly form the hair and an extravagant hat – the bat being a recurrent motif in the artist’s practice (see, for example, her series of bat paintings from 2014 and the more recent <i>Bat </i>2018, in which a huge handmade bat with spread wings bursts out of a two-dimensional image into the space of the gallery).</p>\n<p>Chetwynd was christened Alalia Chetwynd and raised as Lali Chetwynd, but has adopted a series of artistic names; from 2006 to September 2013 she worked under the name Spartacus Chetwynd, followed by Marvin Gaye Chetwynd from September 2013 to April 2018, before adopting the moniker Monster Chetwynd in April 2018. The overlaying images in <i>Crazy Bat Lady </i>reflects the layering of personas used by the artist and the work’s scale and stark contrasts reflect her interest in staging and scenery. Working in film, performance and sculpture, she draws on the history of folk plays and carnival, referencing – often in an irreverent manner – critical moments in cultural history. Chetwynd often works collaboratively with a group of artists and performers; as well as performing together, they will make props, costumes and film sets, some of which are later incorporated as relief elements into wall-based works such as <i>Jesus and Barabbas (Odd Man Out 2011)</i> 2018 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/chetwynd-jesus-and-barabbas-odd-man-out-2011-t15103\" title=\"View the details of this artwork\"><span>T15103</span></a>) and <i>I Want to Be an Insect Protein Entrepreneur</i> 2018 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/chetwynd-i-want-to-be-an-insect-protein-entrepreneur-t15105\" title=\"View the details of this artwork\"><span>T15105</span></a>).</p>\n<p>\n<b>Further reading</b>\n<br/>Marvin Gaye Chetwynd, <i>Bat Opera</i>, Cologne 2014.</p>\n<p>Linsey Young<br/>May 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is a large-scale self-portrait of the artist. It is based on a photograph taken by the artist’s mother. The original image has been manipulated using photocopies and collage, giving the face a mask-like appearance. A bat and a butterfly form the hair or an extravagant hat. The work reflects Chetwynd’s interest in staging and performance and presents a wry take on female stereotypes.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2019-05-08T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]	[]	null	false		false		artwork
Photocopies on paper, wood, latex, fabric, paint, plastic and metal	[ { "append_role_to_name": false, "date": "born 1973", "fc": "Monster Chetwynd", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/monster-chetwynd-12108" } ]	120,985	[ { "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" } ]	2,018	<a href="https://www.tate.org.uk/art/artists/monster-chetwynd-12108" aria-label="More by Monster Chetwynd" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Monster Chetwynd</a>	I Want to Be an Insect Protein Entrepreneur	2,019		[]	Presented by Tate Members 2018	T15105	{ "id": 8, "meta": { "type": "art.Classification" } }			7011781 7008653 7008591	Monster Chetwynd	2,018	[]	<p>In <span>I Want to Be an Insect Protein Entrepreneur</span> 2018 a greatly enlarged photocopied reproduction of a detail from a famous Roman first-century BC fresco – the blooming garden from the Villa of Livia on the ancient Via Flaminia to the north of Rome – is adorned by a gargantuan relief ‘witchetty grub’, which was originally made for Chetwynd’s performances <span>The Elixia App</span> and <span>The Cell Group</span> at Bergen Assembly, Norway in 2016. Wrought from latex, fabric and paint, the insect curls across the surface of the work, strapped to a ladder-like sequence of protruding dowels. The fresco has featured a number of times in the artist’s performances, most prominently as the backdrop to <span>Here She Comes</span> 2016 (Arts Council fiftieth anniversary commission, Royal Festival Hall, London). The ancient painting, which was originally installed in an underground dining room, depicts all the flowers and fruits of the garden blooming simultaneously – as if nature’s cycles and seasons had collapsed into a dazzling singularity. This preternatural image of nature’s plenty is doubled in the turgid, fattened form of the grub – suggestive of another, earthier kind of fecundity. Chetwynd refers in the title and subject of this painting to entomophagy (insect-eating), a concept which is attracting increasing interest from sustainability experts, who foresee the use of insect life as a plentiful supply of nutrition for the world’s swelling population. The performances in Bergen evolved out of research into futurology, with <span>The Cell Group</span> being performed by a cast of octogenarians and referring to a range of subjects including the elderly librarians in the science-fiction film classic <span>Soylent Green</span> (1973) and the futuristic vision of the cult film <span>Zardoz</span> (1974).</p>	false	1	https://media.tate.org.u…15/T15105_10.jpg	12108	sculpture photocopies paper wood latex fabric paint plastic metal	[]	I Want to Be an Insect Protein Entrepreneur	2,018	Tate	2018		CLEARED	8	object: 2800 × 2380 × 550 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> 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>In <i>I Want to Be an Insect Protein Entrepreneur</i> 2018 a greatly enlarged photocopied reproduction of a detail from a famous Roman first-century BC fresco – the blooming garden from the Villa of Livia on the ancient Via Flaminia to the north of Rome – is adorned by a gargantuan relief ‘witchetty grub’, which was originally made for Chetwynd’s performances <i>The Elixia App</i> and <i>The Cell Group</i> at Bergen Assembly, Norway in 2016. Wrought from latex, fabric and paint, the insect curls across the surface of the work, strapped to a ladder-like sequence of protruding dowels. The fresco has featured a number of times in the artist’s performances, most prominently as the backdrop to <i>Here She Comes</i> 2016 (Arts Council fiftieth anniversary commission, Royal Festival Hall, London). The ancient painting, which was originally installed in an underground dining room, depicts all the flowers and fruits of the garden blooming simultaneously – as if nature’s cycles and seasons had collapsed into a dazzling singularity. This preternatural image of nature’s plenty is doubled in the turgid, fattened form of the grub – suggestive of another, earthier kind of fecundity. Chetwynd refers in the title and subject of this painting to entomophagy (insect-eating), a concept which is attracting increasing interest from sustainability experts, who foresee the use of insect life as a plentiful supply of nutrition for the world’s swelling population. The performances in Bergen evolved out of research into futurology, with <i>The Cell Group</i> being performed by a cast of octogenarians and referring to a range of subjects including the elderly librarians in the science-fiction film classic <i>Soylent Green</i> (1973) and the futuristic vision of the cult film <i>Zardoz</i> (1974).</p>\n<p>The structure of the work is similar to that of <i>Jesus and Barabbas (Odd Man Out 2011)</i> 2018 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/chetwynd-jesus-and-barabbas-odd-man-out-2011-t15103\" title=\"View the details of this artwork\"><span>T15103</span></a>) in the juxtaposition of a flat surface with sculptural elements adhered to the picture plane. Both works reference a previous performance and combine historic imagery with reference to contemporary issues. Chetwynd was christened Alalia Chetwynd and raised as Lali Chetwynd, but has adopted a series of artistic names; from 2006 to September 2013 she worked under the name Spartacus Chetwynd, followed by Marvin Gaye Chetwynd from September 2013 to April 2018, before adopting the moniker Monster Chetwynd in April 2018.Working in film, performance and sculpture, she draws on the history of folk plays and carnival, referencing – often in an irreverent manner – critical moments in cultural history. Chetwynd often works collaboratively with a group of artists and performers; as well as performing together, they will make props, costumes and film sets, some of which are later reused in works such as <i>I Want to Be an Insect Protein Entrepreneur</i>.</p>\n<p>\n<b>Further reading</b>\n<br/>Marvin Gaye Chetwynd, <i>Bat Opera</i>, Cologne 2014.</p>\n<p>Linsey Young<br/>May 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Oil paint on canvas	[ { "append_role_to_name": false, "date": "born 1976", "fc": "Daniel Sinsel", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/daniel-sinsel-27764" } ]	120,987	[ { "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" } ]	2,018	<a href="https://www.tate.org.uk/art/artists/daniel-sinsel-27764" aria-label="More by Daniel Sinsel" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Daniel Sinsel</a>		2,019		[]	Presented by Tate Members 2018	T15106	{ "id": 6, "meta": { "type": "art.Classification" } }			7004333 7004398 7003669 7000084	Daniel Sinsel	2,018	[]	<p><span>Untitled</span> 2018 is an oil painting which depicts a mid-blue floating and meandering ribbon against a light blue background. The overall form of the ribbon is carefully contained within the rectangular picture frame so that its composition loops and ripples. The work is painted in the illusionistic style of <span>trompe l’oeil</span>.</p>	false	1	https://media.tate.org.u…T15/T15106_9.jpg	27764	painting oil paint canvas	[]	Untitled	2,018	Tate	2018		CLEARED	6	support: 494 × 402 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> 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Untitled</i> 2018 is an oil painting which depicts a mid-blue floating and meandering ribbon against a light blue background. The overall form of the ribbon is carefully contained within the rectangular picture frame so that its composition loops and ripples. The work is painted in the illusionistic style of <i>trompe l’oeil</i>.</p>\n<p>Since the early 2000s Sinsel has followed a particular approach to making paintings and sculpture which draws on the contrasting registers of minimal abstraction and figuration. These influences are reflected in works which explore issues of materiality and spatial awareness, as well as space, volume and illusion. Sinsel regularly combines flat backgrounds with disparate materials – fabric, threads and carved wood, nut shells, bit of glass and pottery – resulting in simple, often geometric, abstract compositions. Illusionism has long been an important aspect of his practice, reflecting his interest in neoclassical paintings; his hyper-realist depictions of objects are frequently rendered using the trompe l’oeil technique. Writing about a painting attributed to the Renaissance artist Filippino Lippi which incorporates a dominant motif of two interwoven ribbons (attributed to Filippino Lippi [c.1457–1504], <i>Allegoria dell’Amore [Allegory of Love]</i>, c.1500, Fondazione Federico Zeri, University of Bologna), Sinsel described how ‘to make a painting is like a negotiation: relationships between its components are defined by pushing around sticky paint. I respond to paintings that employ restraint: they carefully delineate, and at times secure, dynamic paths for feelings to permeate – as if the rawness of the emotion were too much to bear.’ (‘Artists’ Artists: Daniel Sinsel’, <i>Frieze</i>, no.6, October 2017, https://frieze.com/article/artists-artists-daniel-sinsel, accessed 30 April 2018.)</p>\n<p>\n<i>Untitled </i>2018 is one in an ongoing series of ribbon works the artist began in 2004 that reflects his ambition to find a simple way of creating images – cutting out everything but the most fundamental processes of picture making. Previous paintings portrayed the ribbon motif appearing weightlessly, sometimes against a latticework backdrop or intertwined with objects suspended in mid-air. With <i>Untitled</i> 2018, the work was built up using multiple layers of oil paint to create a blue coloured ribbon which loops across the pictorial plane, creating a sense of tension and allusion. The artist has explained his process:</p>\n<p class=\"cttext\">\n</p><blockquote>The painting was made with the help of photographs as well as observation from life. The model was constructed from fabric tape, pins and cardboard. I made several versions. I looked for a specific sense of speed through the twisting and looping of the tape. The painting was painted in several layers of different colours, starting with a neutral grisaille underpainting, followed by more vivid colours. I tried several colour combinations, as I usually recognise the moment when I will settle for a certain temperature, and when I will find the right emotional tuning in the process. The colours of all the ribbon paintings are imagined. The surface of this painting is made mainly from earth pigments and a pale lapis lazuli.<br/>(Email correspondence with Tate curator Clarrie Wallis, 9 April 2018.) </blockquote>\n<p>Sinsel has cited Renaissance painting as being relevant to his practice because ‘these paintings are also constructed with an inner logic’ (ibid.). His works are also often underpinned by a sense of latent eroticism, something he alluded to in the same interview, describing how: </p>\n<p class=\"cttext\">\n</p><blockquote>the relationship between me and the work, between me and the audience, in terms of revealing something of myself, is very tortured and longwinded. It has a lot to do with not feeling I can express myself directly, and how I had perceived paintings in the past – that paintings did not speak to me directly, but were speaking to me about incredible things I needed to really keep to myself. This was to do with my homoerotic desire for other men, but also with understanding that nobody could talk about a crucifixion or a decapitation, or nobody would, and yet here are these horrific images and everybody looks at them with such pleasure. So I expected that from painting, that lack of directness …The idea of suppressing your desire, within contemporary western society is seen as a problem, something that is your own fault … But I find that negotiation between the things that are visible on the surface and the things that are kept secret very difficult.<br/>(Ibid.) </blockquote>\n<p>The ribbon paintings such as <i>Untitled</i> 2018 bring to the fore this tension in Sinsel’s practice. ‘I think about how magical it is to describe a material with another material’, he has said. (Quoted in McClean-Ferris 2011, p.97.) The ends of the ribbon meet like a mobius strip which Sinsel has likened to that of ‘a rumination, a thought that will not lead to a decision’ (quoted in McLaughlin 2016, accessed 30 April 2018.) The ribbon’s circularity, or endlessness, thus offers a space for symbolic and aesthetic possibility.</p>\n<p>\n<b>Further reading</b>\n<br/>Laura McClean-Ferris, ‘Daniel Sinsel’, <i>Art Review</i>, January–February 2011, pp.96–9.<br/>Rosanna McLaughlin, ‘Interview with Daniel Sinsel’, <i>The White Review</i>, online issue, August 2016, <a href=\"http://www.thewhitereview.org/feature/interview-with-daniel-sinsel/\">http://www.thewhitereview.org/feature/interview-with-daniel-sinsel/</a>, accessed 30 April 2018.</p>\n<p>Clarrie Wallis<br/>April 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Oil paint on canvas	[ { "append_role_to_name": false, "date": "1928–2007", "fc": "Yun Hyong-Keun", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/yun-hyong-keun-27698" } ]	120,988	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,978	<a href="https://www.tate.org.uk/art/artists/yun-hyong-keun-27698" aria-label="More by Yun Hyong-Keun" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Yun Hyong-Keun</a>	Burnt Umber Ultramarine Blue	2,019		[]	Presented by an anonymous donor 2018	T15107	{ "id": 6, "meta": { "type": "art.Classification" } }			1082194 1001191 7000299 1000004 7001325	Yun Hyong-Keun	1,978	[]	<p><span>Burnt Umber & Ultramarine Blue</span> 1978 is a large oil painting on canvas by the Korean abstract artist Yun Hyong-Keun. The title refers to the two colours used in the making of the painting which, according to the artist, represent the colours of earth and water respectively. The composition consists of two vertical, densely painted areas on the left and right sides, like pillars, and a larger unpainted section of canvas in the middle. The edges between the painted and unpainted areas show the absorption of solvent and diluted oil paint, resembling the effects of ink or water colour paint that has permeated a porous surface. The uneven rate of absorption softens the contrast between the dark painted stripes and the unpainted section of the canvas.</p>	false	1	https://media.tate.org.u…15/T15107_10.jpg	27698	painting oil paint canvas	[ { "artistRoomsTour": false, "dateText": "9 June 2023 – 24 September 2023", "endDate": "2023-09-24", "exhibitionLegs": [ { "dateText": "9 June 2023 – 24 September 2023", "endDate": "2023-09-24", "id": 15424, "startDate": "2023-06-09", "venueName": "Hastings Contemporary (Hastings, UK)", "venueWebsiteUrl": null } ], "id": 12663, "startDate": "2023-06-09", "title": "Yun Hyong-Keun", "type": "Loan-out" } ]	Burnt Umber & Ultramarine Blue	1,978	Tate	1978		CLEARED	6	support: 2294 × 1811 mm	accessioned work	Tate	Presented by an anonymous donor 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Burnt Umber & Ultramarine Blue</i> 1978 is a large oil painting on canvas by the Korean abstract artist Yun Hyong-Keun. The title refers to the two colours used in the making of the painting which, according to the artist, represent the colours of earth and water respectively. The composition consists of two vertical, densely painted areas on the left and right sides, like pillars, and a larger unpainted section of canvas in the middle. The edges between the painted and unpainted areas show the absorption of solvent and diluted oil paint, resembling the effects of ink or water colour paint that has permeated a porous surface. The uneven rate of absorption softens the contrast between the dark painted stripes and the unpainted section of the canvas.</p>\n<p>Departing from his paintings of the early 1960s that employed bright colours and thick paint, towards the end of that decade Yun began to lay down raw canvases on his studio floor and paint upon them with vertical stripes of umber and ultramarine. He merged the two colours, one on top of the other, to create an intense and thick darkness, as seen in this later painting of 1978. As Yun later recalled: ‘I merged the two [umber and ultramarine] together, and kept putting one on top of the other so that they darkened and became the color [that they are] … There are times when it takes several days, or sometimes several months for a work to be complete.’ (Quoted in Kee 2013, p.83.) After applying an initial coat of paint, Yun applied another layer before the first had dried and successively built up layers of paint, creating a matte and velvet-like darkness.</p>\n<p>By the mid-1970s, he had reduced the number of stripes in his paintings and increased the compositional role of the unpainted areas. After a visit to New York in 1974 to attend the funeral of the artist Kim Whanki, his father-in-law, Yun became aware of the works of Mark Rothko (1903–1970), which he encountered at the Museum of Modern Art. Yun felt an affinity with Rothko’s painting where pictorial space is separated by implied division rather than by any explicit marker of separation. Blurred edges had been part of Yun’s repertoire since the early 1970s, but his works made from late in 1974 until the mid-1980s, including this painting, show a renewed attention to a visual continuation between the pictorial parts, aided by the seepage of pigment and turpentine. <i>Burnt Umber & Ultramarine Blue</i> was first exhibited in Yun’s solo show at the Tokyo Gallery in 1978.</p>\n<p>Inspired formally and conceptually by Korean calligraphy and literati painting – which emphasised the flow of lines and the traces of ink – Yun also approached painting in relation to nature. He wrote in 1976, ‘Nature, however you look at it, is always unadorned, fresh and beautiful. I wonder if my paintings could capture the beauty of nature. No, it would be impossible. Even so, I want to make paintings that, like nature, one never tires of looking at. That is all I want in my art.’ (Yun Hyong-Keun, ‘A Thought in the Studio’, quoted in Park and Hur 2015, p.10.)</p>\n<p>\n<b>Further reading</b>\n<br/>Joan Kee, ‘Kwon Young-woo and Yun Hyongkeun Rethink Painting’, <i>Contemporary Korean Art: Tansaekwha and The Urgency of Method</i>, Minneapolis and London 2013, pp.35–93.<br/>Park Kyung-mee and Hur Si Young (eds.), <i>Yun Hyong-Keun: Selected Works 1972–2007</i>, PKM Gallery, Seoul 2015.</p>\n<p>Sook-Kyung Lee<br/>April 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Performance, person, bench and fire	[ { "append_role_to_name": false, "date": "born 1975", "fc": "Roger Hiorns", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/roger-hiorns-7255" } ]	120,989	[ { "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/roger-hiorns-7255" aria-label="More by Roger Hiorns" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Roger Hiorns</a>		2,019		[]	Presented by the artist 2018	T15108	{ "id": 10, "meta": { "type": "art.Classification" } }			7010955 7019028 7002445 7008591	Roger Hiorns	2,005	[]	<p><span>Untitled</span> 2005–10 is a sculpture comprising a black metal bench that is intermittently inhabited by a naked youth and a lit flame. The sculpture also functions without the presence of the youth or the flame and, in this case, sets up an anticipation of presence. According to the wishes of the exhibiting institution, a youth can become part of the sculpture by occupying the bench in sessions of roughly fifteen minutes each over an agreed period of time. Once the youth is present and fully disrobed, a gallery attendant can choose to set light to the gel which ignites the flame on the metal bench, although this is not necessary for the sculpture to be activated. On a prepared area of the bench, enough flame gel to allow for approximately nine to fifteen minutes of flame is lit. The youth and the flame are then present together. Once the flame is extinguished, through the exhaustion of the flame gel, the youth may take leave of the bench.</p>	false	1	https://media.tate.org.u…15/T15108_10.jpg	7255	time-based media performance person bench fire	[]	Untitled	2,005	Tate	2005–10		CLEARED	10	Overall display dimensions variable	accessioned work	Tate	Presented by the artist 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Untitled</i> 2005–10 is a sculpture comprising a black metal bench that is intermittently inhabited by a naked youth and a lit flame. The sculpture also functions without the presence of the youth or the flame and, in this case, sets up an anticipation of presence. According to the wishes of the exhibiting institution, a youth can become part of the sculpture by occupying the bench in sessions of roughly fifteen minutes each over an agreed period of time. Once the youth is present and fully disrobed, a gallery attendant can choose to set light to the gel which ignites the flame on the metal bench, although this is not necessary for the sculpture to be activated. On a prepared area of the bench, enough flame gel to allow for approximately nine to fifteen minutes of flame is lit. The youth and the flame are then present together. Once the flame is extinguished, through the exhaustion of the flame gel, the youth may take leave of the bench. </p>\n<p>Hiorns has explained that his intention in <i>Untitled </i>2005–10 was to make a work that was based on the material possibilities of ambiguity, stating, ‘I remember at the time talking about the possibility of using ambiguity itself as a tool, or as a material.’ (Email correspondence with Tate curator Hattie Spires, 24 April 2018.) The sculpture is the first in the artist’s so-called ‘Youth’ series, in which his intention was to put ‘the human at the centre of the artwork’ (ibid.). Additionally, he wanted to explore making an artwork that used time as a tool in the work’s composition. The bench may eventually suffer the effects of time, but the figure occupying it will always be a young man. In this way, Hiorns simultaneously captures a snapshot of youth in all its awkwardness and potential, whilst promising an evolving picture of youth with each future presentation of the work.</p>\n<p>In its previous life, the bench used in the sculpture was sited on the Thamesmead Estate in Bermondsey in south east London and was the arena for a group of youths to meet and, in the artist’s words, ‘mildly transgress their environment’ (ibid.). It is important for Hiorns that the bench itself retains the markings of being set alight in an act of arson brought on by boredom. He has said:</p>\n<p class=\"cttext\">\n</p><blockquote>This moment I find fascinating and useful to focus on; that a youth at that moment is transitioning his behaviour to that of an act of environmental change, be it in this case an antisocial occurrence. I feel that behaviour and, importantly, the modulation and proposal of new behaviours, is perhaps an important step for art-making: an artist proposing new behaviours, moving us beyond a codified and established set of ideas of how to behave now in the world … New behaviours and the proposal of new behaviours will open new space for us to eventually occupy. It’s interesting to see the ignition and the presence of the youth as a progressive motion forward.<br/>(Ibid.)</blockquote>\n<p>\n<b>Further reading</b>\n<br/>Lisa Le Feuvre and Tom Morton (eds.), <i>British Art Show 7: In the Days of the Comet</i>, exhibition catalogue, South Bank Centre, London 2010, reproduced p.88.<br/>Charlotte Higgins, ‘Artist Roger Hiorns fills Wakefield Warehouse with Naked Young Men’, <i>Guardian</i>, 29 August 2013.<br/>Penelope Curtis, <i>Sculpture: Vertical, Horizontal, Closed, Open</i>, London 2017, reproduced p.289.</p>\n<p>Hattie Spires<br/>April 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Ink on paper	[ { "append_role_to_name": false, "date": "1930–2017", "fc": "Tassaduq Sohail", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/tassaduq-sohail-27950" } ]	120,990	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	0	<a href="https://www.tate.org.uk/art/artists/tassaduq-sohail-27950" aria-label="More by Tassaduq Sohail" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Tassaduq Sohail</a>		2,019		[]	Purchased 2018	T15109	{ "id": 5, "meta": { "type": "art.Classification" } }	prints_and_drawings		7011781 1075646 7016883 7000198 1000004 7002450 7002462 1000133	Tassaduq Sohail	0	[]	<p><span>Untitled</span> n.d. is a small drawing in ink on paper which is one of a group of drawings in Tate’s collection by Tassaduq (also Tasaduq or Tassadaq) Sohail (Tate T15109–T15115). The work was made using the <span>frottage</span> technique, rubbing ink on paper against a textured surface. On first appearance this ink drawing appears to show a landscape, yet on closer inspection, animals and forms appear in the composition. A wild cat crouches on the far left edge of the scene, half hidden by the adjacent natural forms. A large bird is drawn on the right side of the page, its wings held out in flight, but its head is lost within the growth. Sohail believed that animals were the principle commanders of natural order, untouched by the degradation and broken values caused by man. Nature in this dark drawing conceals the wrongs of history and flourishes with life at the same time.</p>	true	1	https://media.tate.org.u…T15/T15109_9.jpg	27950	paper unique ink	[]	Untitled	1,974	Tate	Unknown	Prints and Drawings Rooms	CLEARED	5	support: 127 × 204 mm	accessioned work	Tate	Purchased 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Untitled</i> n.d. is a small drawing in ink on paper which is one of a group of drawings in Tate’s collection by Tassaduq (also Tasaduq or Tassadaq) Sohail (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/sohail-untitled-t15109\" title=\"View the details of this artwork\"><span>T15109</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/sohail-untitled-t15115\" title=\"View the details of this artwork\"><span>T15115</span></a>). The work was made using the <i>frottage</i> technique, rubbing ink on paper against a textured surface. On first appearance this ink drawing appears to show a landscape, yet on closer inspection, animals and forms appear in the composition. A wild cat crouches on the far left edge of the scene, half hidden by the adjacent natural forms. A large bird is drawn on the right side of the page, its wings held out in flight, but its head is lost within the growth. Sohail believed that animals were the principle commanders of natural order, untouched by the degradation and broken values caused by man. Nature in this dark drawing conceals the wrongs of history and flourishes with life at the same time.</p>\n<p>Sohail adopted surrealist techniques of automatism in his drawings, using the incidental details from <i>frottage</i> in ink and the washes of different watercolour pigments on a page to improvise his figures, with imagery drawn over the top in black ink. He has described the scenes that evolve from this process, often caricatures of religious figures with nude women or animals and skulls embedded within dense landscapes, as akin to the development of a story: ‘I make a line on a surface and a story evolves. Like the writing of James Joyce, it’s a stream of consciousness expression coming from multiple, fragmented thoughts.’ (Quoted in Husain 2005, p.128.) </p>\n<p>The violent and dark imagery in such works has its origins in the artist’s memories of being displaced during the partition of India and the formation of Pakistan in 1947. As a teenager, Sohail and his family were forced to move from Jullundhar in East Punjab to Karachi in newly formed Pakistan, following the growing violence and turmoil of opposing communities. The teenage Solail witnessed scenes of bloodshed and death on the roadside as he and his family journeyed across the border, the memories and trauma of which stayed with him throughout his life. </p>\n<p>These events are directly referenced through the haunting, mutilated figures and skulls that appear in his art, yet are also the basis for his caricatures of religious figures. Solail spoke of his disdain for figures in positions of authority and the reverence in which they are commonly held, and used his work to challenge their status through humour, explaining: ‘A number of my drawings and paintings often show a religious bearded figure in a robe placed next to or ogling a female nude and of course the purpose of this is to highlight the hypocrisy of so called pious people. I am suspicious about people who claim or assume holy attributes.’ (Quoted in unpublished interview with Aziz Kurta 2007, p.7.) Sohail would often depict these nude characters in sexual acts in order to undermine the authority of the religious figures he depicts. He would rarely title his works on paper, yet would occasionally add a descriptive heading to a drawing alongside the date and his signature to highlight elements within the composition. </p>\n<p>Sohail first started to make art after he arrived in Britain from Pakistan in 1961. He enrolled and started night classes in drawing at St Martin’s School of Art in London. Throughout his time in the city, he faced hardship and near poverty, undertaking a succession of menial jobs to earn a living. The small scale of his drawings on paper was a result of the limited range of materials he was able to access at this time, but also allowed him the freedom to experiment and make multiple concurrent drawings. Using sketchbooks, he would prepare the backgrounds on several pages, allowing them to dry before the next stage in which he would draw intuitively responding to the details of the background. He continued to paint and draw in this format throughout his career, alongside working on paintings in oil on board or canvas that allowed him to expand his themes to a larger scale. For example, <i>Mullah at Night</i> c.1985 (Victoria and Albert Museum, London) satirises the status of the religious leader named in the title, positioning him in the middle of a fantastical forest in which fish and animals dance around his head. </p>\n<p>\n<b>Further reading</b>\n<br/>Marjorie Husain, ‘Symbols of Innocence and Joy – Tasaduq Sohail’, in <i>Artviews: Encounters with Artists in Pakistan</i>, Karachi 2005, pp.127–30.<br/>Jana Manuelpillai, <i>Tasaduq Sohail,</i> exhibition catalogue, Noble Sage Art Gallery, London 2012.<br/>Tariq Ali, ‘Could it Have Been Avoided?’, <i>London Review of Books</i>, vol.39, no.24, 14 December 2017, pp.38–40.</p>\n<p>Priyesh Mistry<br/>June 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Ink on paper	[ { "append_role_to_name": false, "date": "1930–2017", "fc": "Tassaduq Sohail", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/tassaduq-sohail-27950" } ]	120,991	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,978	<a href="https://www.tate.org.uk/art/artists/tassaduq-sohail-27950" aria-label="More by Tassaduq Sohail" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Tassaduq Sohail</a>		2,019		[]	Purchased 2018	T15110	{ "id": 5, "meta": { "type": "art.Classification" } }	prints_and_drawings		7011781 1075646 7016883 7000198 1000004 7002450 7002462 1000133	Tassaduq Sohail	1,978	[]	<p><span>Untitled</span> 1978 is a small drawing in ink on paper which is one of a group of drawings in Tate’s collection by Tassaduq (also Tasaduq or Tassadaq) Sohail (Tate T15109–T15115). The work was made using the <span>frottage</span> technique, rubbing ink on paper against a textured glass surface. Using an ink pen, the artist intuitively drew nude figures and animals that emerge from one another and evolve as they climb up the page. Lions, monkeys and cows, as well as hybrid creatures, form a mass and climbing landscape above the figures of a horse positioned behind a kneeling nude woman at the bottom of the page. This was a recurrent image repeated in many of Sohail’s drawings from this period.</p>	true	1	https://media.tate.org.u…T15/T15110_9.jpg	27950	paper unique ink	[]	Untitled	1,978	Tate	1978	Prints and Drawings Rooms	CLEARED	5	support: 244 × 165 mm	accessioned work	Tate	Purchased 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Untitled</i> 1978 is a small drawing in ink on paper which is one of a group of drawings in Tate’s collection by Tassaduq (also Tasaduq or Tassadaq) Sohail (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/sohail-untitled-t15109\" title=\"View the details of this artwork\"><span>T15109</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/sohail-untitled-t15115\" title=\"View the details of this artwork\"><span>T15115</span></a>). The work was made using the <i>frottage</i> technique, rubbing ink on paper against a textured glass surface. Using an ink pen, the artist intuitively drew nude figures and animals that emerge from one another and evolve as they climb up the page. Lions, monkeys and cows, as well as hybrid creatures, form a mass and climbing landscape above the figures of a horse positioned behind a kneeling nude woman at the bottom of the page. This was a recurrent image repeated in many of Sohail’s drawings from this period.</p>\n<p>Sohail adopted surrealist techniques of automatism in his drawings, using the incidental details from <i>frottage</i> in ink and the washes of different watercolour pigments on a page to improvise his figures, with imagery drawn over the top in black ink. He has described the scenes that evolve from this process, often caricatures of religious figures with nude women or animals and skulls embedded within dense landscapes, as akin to the development of a story: ‘I make a line on a surface and a story evolves. Like the writing of James Joyce, it’s a stream of consciousness expression coming from multiple, fragmented thoughts.’ (Quoted in Husain 2005, p.128.) </p>\n<p>The violent and dark imagery in such works has its origins in the artist’s memories of being displaced during the partition of India and the formation of Pakistan in 1947. As a teenager, Sohail and his family were forced to move from Jullundhar in East Punjab to Karachi in newly formed Pakistan, following the growing violence and turmoil of opposing communities. The teenage Solail witnessed scenes of bloodshed and death on the roadside as he and his family journeyed across the border, the memories and trauma of which stayed with him throughout his life. </p>\n<p>These events are directly referenced through the haunting, mutilated figures and skulls that appear in his art, yet are also the basis for his caricatures of religious figures. Solail spoke of his disdain for figures in positions of authority and the reverence in which they are commonly held, and used his work to challenge their status through humour, explaining: ‘A number of my drawings and paintings often show a religious bearded figure in a robe placed next to or ogling a female nude and of course the purpose of this is to highlight the hypocrisy of so called pious people. I am suspicious about people who claim or assume holy attributes.’ (Quoted in unpublished interview with Aziz Kurta 2007, p.7.) Sohail would often depict these nude characters in sexual acts in order to undermine the authority of the religious figures he depicts. He would rarely title his works on paper, yet would occasionally add a descriptive heading to a drawing alongside the date and his signature to highlight elements within the composition. </p>\n<p>Sohail first started to make art after he arrived in Britain from Pakistan in 1961. He enrolled and started night classes in drawing at St Martin’s School of Art in London. Throughout his time in the city, he faced hardship and near poverty, undertaking a succession of menial jobs to earn a living. The small scale of his drawings on paper was a result of the limited range of materials he was able to access at this time, but also allowed him the freedom to experiment and make multiple concurrent drawings. Using sketchbooks, he would prepare the backgrounds on several pages, allowing them to dry before the next stage in which he would draw intuitively responding to the details of the background. He continued to paint and draw in this format throughout his career, alongside working on paintings in oil on board or canvas that allowed him to expand his themes to a larger scale. For example, <i>Mullah at Night</i> c.1985 (Victoria and Albert Museum, London) satirises the status of the religious leader named in the title, positioning him in the middle of a fantastical forest in which fish and animals dance around his head. </p>\n<p>\n<b>Further reading</b>\n<br/>Marjorie Husain, ‘Symbols of Innocence and Joy – Tasaduq Sohail’, in <i>Artviews: Encounters with Artists in Pakistan</i>, Karachi 2005, pp.127–30.<br/>Jana Manuelpillai, <i>Tasaduq Sohail,</i> exhibition catalogue, Noble Sage Art Gallery, London 2012.<br/>Tariq Ali, ‘Could it Have Been Avoided?’, <i>London Review of Books</i>, vol.39, no.24, 14 December 2017, pp.38–40.</p>\n<p>Priyesh Mistry<br/>June 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Watercolour and ink on paper	[ { "append_role_to_name": false, "date": "1930–2017", "fc": "Tassaduq Sohail", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/tassaduq-sohail-27950" } ]	120,992	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,979	<a href="https://www.tate.org.uk/art/artists/tassaduq-sohail-27950" aria-label="More by Tassaduq Sohail" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Tassaduq Sohail</a>	Musician Lovers and Nude	2,019		[]	Purchased 2018	T15111	{ "id": 5, "meta": { "type": "art.Classification" } }	prints_and_drawings		7011781 1075646 7016883 7000198 1000004 7002450 7002462 1000133	Tassaduq Sohail	1,979	[]	<p><span>Untitled (Musician, Lovers and Nude)</span> 1979 is a small drawing in ink and watercolour on paper which is one of a group of drawings in Tate’s collection by Tassaduq (also Tasaduq or Tassadaq) Sohail (Tate T15109–T15115). This drawing shows an interior scene in which a musician, standing in front of a window above a red rug, holds a lute while looking towards a nude figure to his right. To the other side, two figures stand in a sexual embrace. Sohail added another layer of watercolour in this part of the composition to darken the interior space, adding extra intimacy to the scene and making a contrast with the lighter, warmer tones of the figures. The artist rarely titled his works on paper, however here he captioned the drawing to identify the figures in the scene.</p>	true	1	https://media.tate.org.u…T15/T15111_9.jpg	27950	paper unique watercolour ink	[]	Untitled (Musician, Lovers and Nude)	1,979	Tate	1979	Prints and Drawings Rooms	CLEARED	5	support: 295 × 225 mm	accessioned work	Tate	Purchased 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Untitled (Musician, Lovers and Nude)</i> 1979 is a small drawing in ink and watercolour on paper which is one of a group of drawings in Tate’s collection by Tassaduq (also Tasaduq or Tassadaq) Sohail (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/sohail-untitled-t15109\" title=\"View the details of this artwork\"><span>T15109</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/sohail-untitled-t15115\" title=\"View the details of this artwork\"><span>T15115</span></a>). This drawing shows an interior scene in which a musician, standing in front of a window above a red rug, holds a lute while looking towards a nude figure to his right. To the other side, two figures stand in a sexual embrace. Sohail added another layer of watercolour in this part of the composition to darken the interior space, adding extra intimacy to the scene and making a contrast with the lighter, warmer tones of the figures. The artist rarely titled his works on paper, however here he captioned the drawing to identify the figures in the scene. </p>\n<p>Sohail adopted surrealist techniques of automatism, using the incidental details from <i>frottage</i> in ink and the washes of different watercolour pigments on a page to improvise the figures with imagery drawn over the top in black ink. He has described the scenes that evolve from this process, often caricatures of religious figures with nude women or animals and skulls embedded within dense landscapes, as akin to the development of a story: ‘I make a line on a surface and a story evolves. Like the writing of James Joyce, it’s a stream of consciousness expression coming from multiple, fragmented thoughts.” (Quoted in Husain 2005, p.128.) </p>\n<p>The violent and dark imagery has its origins in the artist’s memories of being displaced during the partition of India and the formation of Pakistan in 1947. As a teenager, Sohail and his family were forced to move from Jullundhar in East Punjab to Karachi in newly formed Pakistan following the growing violence and turmoil of opposing communities. The artist witnessed scenes of bloodshed and death on the roadside as they journeyed across the border, the memories and trauma of which stayed with him throughout his life.</p>\n<p>These events are directly referenced through the appearance of haunting and mutilated figures and skulls in his imagery, yet are also the basis for his caricatures of religious figures. He has spoken of his disdain for figures in positions of authority and the reverence in which they are commonly held, and uses his work to challenge their status through humour: ‘A number of my drawings and paintings often show a religious bearded figure in a robe placed next to or ogling a female nude and of course the purpose of this is to highlight the hypocrisy of so called pious people. I am suspicious about people who claim or assume holy attributes.’ (Quoted in unpublished interview with Aziz Kurta 2007, p.7.) Sohail would often depict these nude characters in sexual acts in order to debase the authority of the religious figures he depicts. He would rarely title his works on paper, yet would occasionally add a descriptive heading to a drawing alongside the date and his signature to highlight elements within the composition. </p>\n<p>Sohail first started to make art after he arrived in Britain from Pakistan in 1961. He enrolled and started night classes in drawing at St Martin’s School of Art in London. Throughout his time in the capital, he faced hardship and near poverty, undertaking a succession of menial jobs to earn a living. The small scale of the drawings on paper was a result of the limited range of materials Sohail was able to access at this time, but also allowed him the freedom to experiment and make multiple concurrent drawings. Using sketchbooks, he would prepare the backgrounds on several pages, allowing them to dry before the next stage in which he would draw intuitively responding to the details of the background. He continued to paint and draw in this format throughout his career alongside paintings he made in oil on board or canvas that allowed him to expand his themes to a larger scale. For example, <i>Mullah at Night</i> c.1985 (Victoria and Albert Museum, London) satirises the status of the religious leader named in the title, positioning him in the middle of a fantastical forest in which fish and animals dance around his head. </p>\n<p>\n<b>Further reading</b>\n<br/>Marjorie Husain, ‘Symbols of Innocence and Joy – Tasaduq Sohail’, in <i>Artviews: Encounters with Artists in Pakistan</i>, Karachi 2005, pp.127–30.<br/>Jana Manuelpillai, <i>Tasaduq Sohail,</i> exhibition catalogue, Noble Sage Art Gallery, London 2012.<br/>Tariq Ali, ‘Could it Have Been Avoided?’, <i>London Review of Books</i>, vol.39, no.24, 14 December 2017, pp.38–40.</p>\n<p>Priyesh Mistry<br/>June 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Watercolour and ink on paper	[ { "append_role_to_name": false, "date": "1930–2017", "fc": "Tassaduq Sohail", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/tassaduq-sohail-27950" } ]	120,993	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,979	<a href="https://www.tate.org.uk/art/artists/tassaduq-sohail-27950" aria-label="More by Tassaduq Sohail" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Tassaduq Sohail</a>		2,019		[]	Purchased 2018	T15112	{ "id": 5, "meta": { "type": "art.Classification" } }	prints_and_drawings		7011781 1075646 7016883 7000198 1000004 7002450 7002462 1000133	Tassaduq Sohail	1,979	[]	<p><span>Untitled</span> 1979 is a small drawing in ink on paper which is one of a group of drawings in Tate’s collection by Tassaduq (also Tasaduq or Tassadaq) Sohail (Tate T15109–T15115). The hooded figures in this image engage with two nude figures. Their grey and mottled skin makes a direct contrast with the warmer tones of the figures in some of the artist’s contemporaneous drawings such as <span>Untitled (Musician, Lovers and Nude)</span> 1979 (Tate T15111). Set within an unidentified dark interior, the figures’ faces are ghoulish and skull-like. The hoods represent pious religious figures in society and their morbid presence in this scenario hints towards a darker side of established religions, a recurrent theme within the artist’s work.</p>	true	1	https://media.tate.org.u…T15/T15112_9.jpg	27950	paper unique watercolour ink	[]	Untitled	1,979	Tate	1979	Prints and Drawings Rooms	CLEARED	5	support: 295 × 264 mm	accessioned work	Tate	Purchased 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Untitled</i> 1979 is a small drawing in ink on paper which is one of a group of drawings in Tate’s collection by Tassaduq (also Tasaduq or Tassadaq) Sohail (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/sohail-untitled-t15109\" title=\"View the details of this artwork\"><span>T15109</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/sohail-untitled-t15115\" title=\"View the details of this artwork\"><span>T15115</span></a>). The hooded figures in this image engage with two nude figures. Their grey and mottled skin makes a direct contrast with the warmer tones of the figures in some of the artist’s contemporaneous drawings such as <i>Untitled (Musician, Lovers and Nude)</i> 1979 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/sohail-untitled-musician-lovers-and-nude-t15111\" title=\"View the details of this artwork\"><span>T15111</span></a>). Set within an unidentified dark interior, the figures’ faces are ghoulish and skull-like. The hoods represent pious religious figures in society and their morbid presence in this scenario hints towards a darker side of established religions, a recurrent theme within the artist’s work. </p>\n<p>Sohail adopted surrealist techniques of automatism in his drawings, using the incidental details from <i>frottage</i> in ink and the washes of different watercolour pigments on a page to improvise his figures, with imagery drawn over the top in black ink. He has described the scenes that evolve from this process, often caricatures of religious figures with nude women or animals and skulls embedded within dense landscapes, as akin to the development of a story: ‘I make a line on a surface and a story evolves. Like the writing of James Joyce, it’s a stream of consciousness expression coming from multiple, fragmented thoughts.’ (Quoted in Husain 2005, p.128.) </p>\n<p>The violent and dark imagery in such works has its origins in the artist’s memories of being displaced during the partition of India and the formation of Pakistan in 1947. As a teenager, Sohail and his family were forced to move from Jullundhar in East Punjab to Karachi in newly formed Pakistan, following the growing violence and turmoil of opposing communities. The teenage Solail witnessed scenes of bloodshed and death on the roadside as he and his family journeyed across the border, the memories and trauma of which stayed with him throughout his life. </p>\n<p>These events are directly referenced through the haunting, mutilated figures and skulls that appear in his art, yet are also the basis for his caricatures of religious figures. Solail spoke of his disdain for figures in positions of authority and the reverence in which they are commonly held, and used his work to challenge their status through humour, explaining: ‘A number of my drawings and paintings often show a religious bearded figure in a robe placed next to or ogling a female nude and of course the purpose of this is to highlight the hypocrisy of so called pious people. I am suspicious about people who claim or assume holy attributes.’ (Quoted in unpublished interview with Aziz Kurta 2007, p.7.) Sohail would often depict these nude characters in sexual acts in order to undermine the authority of the religious figures he depicts. He would rarely title his works on paper, yet would occasionally add a descriptive heading to a drawing alongside the date and his signature to highlight elements within the composition. </p>\n<p>Sohail first started to make art after he arrived in Britain from Pakistan in 1961. He enrolled and started night classes in drawing at St Martin’s School of Art in London. Throughout his time in the city, he faced hardship and near poverty, undertaking a succession of menial jobs to earn a living. The small scale of his drawings on paper was a result of the limited range of materials he was able to access at this time, but also allowed him the freedom to experiment and make multiple concurrent drawings. Using sketchbooks, he would prepare the backgrounds on several pages, allowing them to dry before the next stage in which he would draw intuitively responding to the details of the background. He continued to paint and draw in this format throughout his career, alongside working on paintings in oil on board or canvas that allowed him to expand his themes to a larger scale. For example, <i>Mullah at Night</i> c.1985 (Victoria and Albert Museum, London) satirises the status of the religious leader named in the title, positioning him in the middle of a fantastical forest in which fish and animals dance around his head. </p>\n<p>\n<b>Further reading</b>\n<br/>Marjorie Husain, ‘Symbols of Innocence and Joy – Tasaduq Sohail’, in <i>Artviews: Encounters with Artists in Pakistan</i>, Karachi 2005, pp.127–30.<br/>Jana Manuelpillai, <i>Tasaduq Sohail,</i> exhibition catalogue, Noble Sage Art Gallery, London 2012.<br/>Tariq Ali, ‘Could it Have Been Avoided?’, <i>London Review of Books</i>, vol.39, no.24, 14 December 2017, pp.38–40.</p>\n<p>Priyesh Mistry<br/>June 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Watercolour and ink on paper	[ { "append_role_to_name": false, "date": "1930–2017", "fc": "Tassaduq Sohail", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/tassaduq-sohail-27950" } ]	120,994	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,979	<a href="https://www.tate.org.uk/art/artists/tassaduq-sohail-27950" aria-label="More by Tassaduq Sohail" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Tassaduq Sohail</a>		2,019		[]	Purchased 2018	T15113	{ "id": 5, "meta": { "type": "art.Classification" } }	prints_and_drawings		7011781 1075646 7016883 7000198 1000004 7002450 7002462 1000133	Tassaduq Sohail	1,979	[]	<p><span>Untitled</span> 1979 is a small drawing in ink and watercolour on paper which is one of a group of drawings in Tate’s collection by Tassaduq (also Tasaduq or Tassadaq) Sohail (Tate T15109–T15115). Against a background of green and red watercolour, the ink drawing features the figure of a horse positioned behind a nude woman kneeling on all fours. This was a recurrent image repeated in many of Sohail’s drawings from this period, including <span>Untitled </span>1978, also in Tate’s collection (Tate T15110). Behind the figures of the woman and horse, a nude man who is also bent over on all fours leers over the scene in front of him, his penis erect. The imagery makes comment on the animalistic nature of human beings, drawing a comparison between man’s salacious desire and that of animals in his mimicry of the horse’s stance.</p>	true	1	https://media.tate.org.u…T15/T15113_9.jpg	27950	paper unique watercolour ink	[]	Untitled	1,979	Tate	1979	Prints and Drawings Rooms	CLEARED	5	image: 160 × 220 mm	accessioned work	Tate	Purchased 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Untitled</i> 1979 is a small drawing in ink and watercolour on paper which is one of a group of drawings in Tate’s collection by Tassaduq (also Tasaduq or Tassadaq) Sohail (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/sohail-untitled-t15109\" title=\"View the details of this artwork\"><span>T15109</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/sohail-untitled-t15115\" title=\"View the details of this artwork\"><span>T15115</span></a>). Against a background of green and red watercolour, the ink drawing features the figure of a horse positioned behind a nude woman kneeling on all fours. This was a recurrent image repeated in many of Sohail’s drawings from this period, including <i>Untitled </i>1978, also 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/sohail-untitled-t15110\" title=\"View the details of this artwork\"><span>T15110</span></a>). Behind the figures of the woman and horse, a nude man who is also bent over on all fours leers over the scene in front of him, his penis erect. The imagery makes comment on the animalistic nature of human beings, drawing a comparison between man’s salacious desire and that of animals in his mimicry of the horse’s stance.</p>\n<p>Sohail adopted surrealist techniques of automatism in his drawings, using the incidental details from <i>frottage</i> in ink and the washes of different watercolour pigments on a page to improvise his figures, with imagery drawn over the top in black ink. He has described the scenes that evolve from this process, often caricatures of religious figures with nude women or animals and skulls embedded within dense landscapes, as akin to the development of a story: ‘I make a line on a surface and a story evolves. Like the writing of James Joyce, it’s a stream of consciousness expression coming from multiple, fragmented thoughts.’ (Quoted in Husain 2005, p.128.) </p>\n<p>The violent and dark imagery in such works has its origins in the artist’s memories of being displaced during the partition of India and the formation of Pakistan in 1947. As a teenager, Sohail and his family were forced to move from Jullundhar in East Punjab to Karachi in newly formed Pakistan, following the growing violence and turmoil of opposing communities. The teenage Solail witnessed scenes of bloodshed and death on the roadside as he and his family journeyed across the border, the memories and trauma of which stayed with him throughout his life. </p>\n<p>These events are directly referenced through the haunting, mutilated figures and skulls that appear in his art, yet are also the basis for his caricatures of religious figures. Solail spoke of his disdain for figures in positions of authority and the reverence in which they are commonly held, and used his work to challenge their status through humour, explaining: ‘A number of my drawings and paintings often show a religious bearded figure in a robe placed next to or ogling a female nude and of course the purpose of this is to highlight the hypocrisy of so called pious people. I am suspicious about people who claim or assume holy attributes.’ (Quoted in unpublished interview with Aziz Kurta 2007, p.7.) Sohail would often depict these nude characters in sexual acts in order to undermine the authority of the religious figures he depicts. He would rarely title his works on paper, yet would occasionally add a descriptive heading to a drawing alongside the date and his signature to highlight elements within the composition. </p>\n<p>Sohail first started to make art after he arrived in Britain from Pakistan in 1961. He enrolled and started night classes in drawing at St Martin’s School of Art in London. Throughout his time in the city, he faced hardship and near poverty, undertaking a succession of menial jobs to earn a living. The small scale of his drawings on paper was a result of the limited range of materials he was able to access at this time, but also allowed him the freedom to experiment and make multiple concurrent drawings. Using sketchbooks, he would prepare the backgrounds on several pages, allowing them to dry before the next stage in which he would draw intuitively responding to the details of the background. He continued to paint and draw in this format throughout his career, alongside working on paintings in oil on board or canvas that allowed him to expand his themes to a larger scale. For example, <i>Mullah at Night</i> c.1985 (Victoria and Albert Museum, London) satirises the status of the religious leader named in the title, positioning him in the middle of a fantastical forest in which fish and animals dance around his head. </p>\n<p>\n<b>Further reading</b>\n<br/>Marjorie Husain, ‘Symbols of Innocence and Joy – Tasaduq Sohail’, in <i>Artviews: Encounters with Artists in Pakistan</i>, Karachi 2005, pp.127–30.<br/>Jana Manuelpillai, <i>Tasaduq Sohail,</i> exhibition catalogue, Noble Sage Art Gallery, London 2012.<br/>Tariq Ali, ‘Could it Have Been Avoided?’, <i>London Review of Books</i>, vol.39, no.24, 14 December 2017, pp.38–40.</p>\n<p>Priyesh Mistry<br/>June 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Watercolour and ink on paper	[ { "append_role_to_name": false, "date": "1930–2017", "fc": "Tassaduq Sohail", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/tassaduq-sohail-27950" } ]	120,995	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,992	<a href="https://www.tate.org.uk/art/artists/tassaduq-sohail-27950" aria-label="More by Tassaduq Sohail" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Tassaduq Sohail</a>	Coloured People	2,019		[]	Purchased 2018	T15114	{ "id": 5, "meta": { "type": "art.Classification" } }	prints_and_drawings		7011781 1075646 7016883 7000198 1000004 7002450 7002462 1000133	Tassaduq Sohail	1,992	[]	<p><span>Untitled (Coloured People)</span> 1992 is a small drawing in ink and watercolour on paper which is one of a group of drawings in Tate’s collection by Tassaduq (also Tasaduq or Tassadaq) Sohail (Tate T15109–T15115). The title of this work plays with the notion of identity. As an ethnic minority person in Britain, Sohail would have been described as ‘coloured’. Here the artist has depicted three figures in ink on top of watercolour washes of strong blue, red, yellow and green, giving the term ‘coloured’ a new, ironic definition. Sohail has drawn the portraits of these three men following the incidental washes and bleeding of watercolour pigment on the page.</p>	true	1	https://media.tate.org.u…T15/T15114_9.jpg	27950	paper unique watercolour ink	[]	Untitled (Coloured People)	1,992	Tate	1992	Prints and Drawings Rooms	CLEARED	5	support: 178 × 254 mm	accessioned work	Tate	Purchased 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Untitled (Coloured People)</i> 1992 is a small drawing in ink and watercolour on paper which is one of a group of drawings in Tate’s collection by Tassaduq (also Tasaduq or Tassadaq) Sohail (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/sohail-untitled-t15109\" title=\"View the details of this artwork\"><span>T15109</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/sohail-untitled-t15115\" title=\"View the details of this artwork\"><span>T15115</span></a>). The title of this work plays with the notion of identity. As an ethnic minority person in Britain, Sohail would have been described as ‘coloured’. Here the artist has depicted three figures in ink on top of watercolour washes of strong blue, red, yellow and green, giving the term ‘coloured’ a new, ironic definition. Sohail has drawn the portraits of these three men following the incidental washes and bleeding of watercolour pigment on the page. </p>\n<p>Sohail adopted surrealist techniques of automatism in his drawings, using the incidental details from <i>frottage</i> in ink and the washes of different watercolour pigments on a page to improvise his figures, with imagery drawn over the top in black ink. He has described the scenes that evolve from this process, often caricatures of religious figures with nude women or animals and skulls embedded within dense landscapes, as akin to the development of a story: ‘I make a line on a surface and a story evolves. Like the writing of James Joyce, it’s a stream of consciousness expression coming from multiple, fragmented thoughts.’ (Quoted in Husain 2005, p.128.) </p>\n<p>The violent and dark imagery in such works has its origins in the artist’s memories of being displaced during the partition of India and the formation of Pakistan in 1947. As a teenager, Sohail and his family were forced to move from Jullundhar in East Punjab to Karachi in newly formed Pakistan, following the growing violence and turmoil of opposing communities. The teenage Solail witnessed scenes of bloodshed and death on the roadside as he and his family journeyed across the border, the memories and trauma of which stayed with him throughout his life. </p>\n<p>These events are directly referenced through the haunting, mutilated figures and skulls that appear in his art, yet are also the basis for his caricatures of religious figures. Solail spoke of his disdain for figures in positions of authority and the reverence in which they are commonly held, and used his work to challenge their status through humour, explaining: ‘A number of my drawings and paintings often show a religious bearded figure in a robe placed next to or ogling a female nude and of course the purpose of this is to highlight the hypocrisy of so called pious people. I am suspicious about people who claim or assume holy attributes.’ (Quoted in unpublished interview with Aziz Kurta 2007, p.7.) Sohail would often depict these nude characters in sexual acts in order to undermine the authority of the religious figures he depicts. He would rarely title his works on paper, yet would occasionally add a descriptive heading to a drawing alongside the date and his signature to highlight elements within the composition.</p>\n<p>Sohail first started to make art after he arrived in Britain from Pakistan in 1961. He enrolled and started night classes in drawing at St Martin’s School of Art in London. Throughout his time in the city, he faced hardship and near poverty, undertaking a succession of menial jobs to earn a living. The small scale of his drawings on paper was a result of the limited range of materials he was able to access at this time, but also allowed him the freedom to experiment and make multiple concurrent drawings. Using sketchbooks, he would prepare the backgrounds on several pages, allowing them to dry before the next stage in which he would draw intuitively responding to the details of the background. He continued to paint and draw in this format throughout his career, alongside working on paintings in oil on board or canvas that allowed him to expand his themes to a larger scale. For example, <i>Mullah at Night</i> c.1985 (Victoria and Albert Museum, London) satirises the status of the religious leader named in the title, positioning him in the middle of a fantastical forest in which fish and animals dance around his head.</p>\n<p>\n<b>Further reading</b>\n<br/>Marjorie Husain, ‘Symbols of Innocence and Joy – Tasaduq Sohail’, in <i>Artviews: Encounters with Artists in Pakistan</i>, Karachi 2005, pp.127–30.<br/>Jana Manuelpillai, <i>Tasaduq Sohail,</i> exhibition catalogue, Noble Sage Art Gallery, London 2012.<br/>Tariq Ali, ‘Could it Have Been Avoided?’, <i>London Review of Books</i>, vol.39, no.24, 14 December 2017, pp.38–40.</p>\n<p>Priyesh Mistry<br/>June 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Ink on paper	[ { "append_role_to_name": false, "date": "1930–2017", "fc": "Tassaduq Sohail", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/tassaduq-sohail-27950" } ]	120,996	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,993	<a href="https://www.tate.org.uk/art/artists/tassaduq-sohail-27950" aria-label="More by Tassaduq Sohail" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Tassaduq Sohail</a>		2,019		[]	Purchased 2018	T15115	{ "id": 5, "meta": { "type": "art.Classification" } }	prints_and_drawings		7011781 1075646 7016883 7000198 1000004 7002450 7002462 1000133	Tassaduq Sohail	1,993	[]	<p><span>Untitled</span> 1993 is a small drawing in ink on paper which is one of a group of drawings in Tate’s collection by Tassaduq (also Tasaduq or Tassadaq) Sohail (Tate T15109–T15115). The work was made using the <span>frottage</span> technique, rubbing ink on paper against a textured surface, and depicts the skull-like heads of five figures crowded into the composition. Each of the heads looks out at the viewer against the darker black ink of the mottled background. Sohail used the texture of the frottage to pick out details of the faces and hair. The result is a haunting dream-like image, perhaps in reference to the traumatic events Sohail experienced as a young man during the Partition of India.</p>	true	1	https://media.tate.org.u…T15/T15115_9.jpg	27950	paper unique ink	[]	Untitled	1,993	Tate	1993	Prints and Drawings Rooms	CLEARED	5	support: 210 × 148 mm	accessioned work	Tate	Purchased 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Untitled</i> 1993 is a small drawing in ink on paper which is one of a group of drawings in Tate’s collection by Tassaduq (also Tasaduq or Tassadaq) Sohail (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/sohail-untitled-t15109\" title=\"View the details of this artwork\"><span>T15109</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/sohail-untitled-t15115\" title=\"View the details of this artwork\"><span>T15115</span></a>). The work was made using the <i>frottage</i> technique, rubbing ink on paper against a textured surface, and depicts the skull-like heads of five figures crowded into the composition. Each of the heads looks out at the viewer against the darker black ink of the mottled background. Sohail used the texture of the frottage to pick out details of the faces and hair. The result is a haunting dream-like image, perhaps in reference to the traumatic events Sohail experienced as a young man during the Partition of India. </p>\n<p>Sohail adopted surrealist techniques of automatism in his drawings, using the incidental details from <i>frottage</i> in ink and the washes of different watercolour pigments on a page to improvise his figures, with imagery drawn over the top in black ink. He has described the scenes that evolve from this process, often caricatures of religious figures with nude women or animals and skulls embedded within dense landscapes, as akin to the development of a story: ‘I make a line on a surface and a story evolves. Like the writing of James Joyce, it’s a stream of consciousness expression coming from multiple, fragmented thoughts.’ (Quoted in Husain 2005, p.128.) </p>\n<p>The violent and dark imagery in such works has its origins in the artist’s memories of being displaced during the partition of India and the formation of Pakistan in 1947. As a teenager, Sohail and his family were forced to move from Jullundhar in East Punjab to Karachi in newly formed Pakistan, following the growing violence and turmoil of opposing communities. The teenage Solail witnessed scenes of bloodshed and death on the roadside as he and his family journeyed across the border, the memories and trauma of which stayed with him throughout his life. </p>\n<p>These events are directly referenced through the haunting, mutilated figures and skulls that appear in his art, yet are also the basis for his caricatures of religious figures. Solail spoke of his disdain for figures in positions of authority and the reverence in which they are commonly held, and used his work to challenge their status through humour, explaining: ‘A number of my drawings and paintings often show a religious bearded figure in a robe placed next to or ogling a female nude and of course the purpose of this is to highlight the hypocrisy of so called pious people. I am suspicious about people who claim or assume holy attributes.’ (Quoted in unpublished interview with Aziz Kurta 2007, p.7.) Sohail would often depict these nude characters in sexual acts in order to undermine the authority of the religious figures he depicts. He would rarely title his works on paper, yet would occasionally add a descriptive heading to a drawing alongside the date and his signature to highlight elements within the composition. </p>\n<p>Sohail first started to make art after he arrived in Britain from Pakistan in 1961. He enrolled and started night classes in drawing at St Martin’s School of Art in London. Throughout his time in the city, he faced hardship and near poverty, undertaking a succession of menial jobs to earn a living. The small scale of his drawings on paper was a result of the limited range of materials he was able to access at this time, but also allowed him the freedom to experiment and make multiple concurrent drawings. Using sketchbooks, he would prepare the backgrounds on several pages, allowing them to dry before the next stage in which he would draw intuitively responding to the details of the background. He continued to paint and draw in this format throughout his career, alongside working on paintings in oil on board or canvas that allowed him to expand his themes to a larger scale. For example, <i>Mullah at Night</i> c.1985 (Victoria and Albert Museum, London) satirises the status of the religious leader named in the title, positioning him in the middle of a fantastical forest in which fish and animals dance around his head. </p>\n<p>\n<b>Further reading</b>\n<br/>Marjorie Husain, ‘Symbols of Innocence and Joy – Tasaduq Sohail’, in <i>Artviews: Encounters with Artists in Pakistan</i>, Karachi 2005, pp.127–30.<br/>Jana Manuelpillai, <i>Tasaduq Sohail,</i> exhibition catalogue, Noble Sage Art Gallery, London 2012.<br/>Tariq Ali, ‘Could it Have Been Avoided?’, <i>London Review of Books</i>, vol.39, no.24, 14 December 2017, pp.38–40.</p>\n<p>Priyesh Mistry<br/>June 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Pigmented concrete	[ { "append_role_to_name": false, "date": "1899–1967", "fc": "Peter László Peri", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/peter-laszlo-peri-2211" } ]	120,997	[ { "id": 999999876, "shortTitle": "Tate Britain" }, { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999872, "shortTitle": "Works on display" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999973, "shortTitle": "Tate Members" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,937	<a href="https://www.tate.org.uk/art/artists/peter-laszlo-peri-2211" aria-label="More by Peter László Peri" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Peter László Peri</a>	Rush Hour	2,019		[]	Presented by Tate Members 2018	T15116	{ "id": 7, "meta": { "type": "art.Classification" } }			7011781 7006280 7017994 7006278 7008136 7002445 7008591	Peter László Peri	1,937	[]	<p><span>Rush Hour </span>1937 is a work in low relief that depicts men and women boarding a double-decker London bus which is full of seated passengers. They crowd around the pavement and ascend the spiral staircase at the back of the bus as the conductor looks on. The street scene also includes a cyclist passing the bus on the right-hand side and another bus further in the distance. The scene combines realism and abstraction in its precise observation of the actions of people in everyday situations set against the simplified rectangular shapes of the two buses. The work is executed in coloured concrete low-relief, the grey, blue and terracotta forms of the people and buses set against a pale grey background. Peri developed a method of modelling concrete directly rather than casting it; keeping it moist and malleable, he gradually built up his compositions using different colours of concrete. His use of concrete was both utilitarian and egalitarian and his work had a conscious political agenda intended to broaden the social reach of art by representing ordinary people and by appealing to a wide public.</p>	false	1	https://media.tate.org.u…T15/T15116_9.jpg	2211	relief pigmented concrete	[ { "artistRoomsTour": false, "dateText": "31 October 2022", "endDate": null, "exhibitionLegs": [ { "dateText": "31 October 2022", "endDate": null, "id": 13426, "startDate": "2022-10-31", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 11060, "startDate": "2022-10-31", "title": "Gallery 3", "type": "Collection based display" } ]	Rush Hour	1,937	Tate	1937		CLEARED	7	object: 900 × 700 × 190 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> 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Rush Hour </i>1937 is a work in low relief that depicts men and women boarding a double-decker London bus which is full of seated passengers. They crowd around the pavement and ascend the spiral staircase at the back of the bus as the conductor looks on. The street scene also includes a cyclist passing the bus on the right-hand side and another bus further in the distance. The scene combines realism and abstraction in its precise observation of the actions of people in everyday situations set against the simplified rectangular shapes of the two buses. The work is executed in coloured concrete low-relief, the grey, blue and terracotta forms of the people and buses set against a pale grey background. Peri developed a method of modelling concrete directly rather than casting it; keeping it moist and malleable, he gradually built up his compositions using different colours of concrete. His use of concrete was both utilitarian and egalitarian and his work had a conscious political agenda intended to broaden the social reach of art by representing ordinary people and by appealing to a wide public.</p>\n<p>Peri was one of the founder members of the Artists International Association and a key figure in politically engaged art in Britain from the 1930s. Having begun his career as a constructivist artist in Budapest and Berlin, his art developed in a socialist-realist direction and he came to Britain as a refugee in 1933. His realist depictions of London life were rooted in his constructivist principles, as the critic Anthony Blunt described in an article in <i>The Spectator </i>in 1936:</p>\n<p class=\"cttext\">\n</p><blockquote>A great part of Peri’s recent achievement has been the introduction into a realist idiom of the clarity and simplicity which he learnt from his experiments in abstraction. Some of the low-reliefs … are in compositional method as subtle as the cut-out designs of 1920–4. In the grandest groups … the simplicity of formal arrangement is the exact expression of a psychological situation: the groups are united by play of plane and curve, but these are supported by a unity of look and feeling.<br/>(Quoted in Watkinson 1987, p.28.)</blockquote>\n<p>While structuring his compositions through formal concerns, Peri was also a keen observer of street life who constantly sketched the scenes that he saw and was adept at conveying character and expression by pose and gesture in both individual figures and crowd scenes. He expressed these observations of everyday people on the streets through etchings as well as sculpture (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/peri-workers-and-soldiers-unite-p14971\" title=\"View the details of this artwork\"><span>P14971</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/peri-tyranny-p14976\" title=\"View the details of this artwork\"><span>P14976</span></a>).</p>\n<p>\n<i>Rush Hour </i>was shown in the artist’s ambitious and widely reviewed solo exhibition, <i>London Life in Concrete</i>, at 36 Soho Square in London in 1938, alongside another relief in Tate’s collection, <i>Building Job </i>1937 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/peri-building-job-t05035\" title=\"View the details of this artwork\"><span>T05035</span></a>). In this exhibition Peri’s socially engaged art explored British society through representations of both work and leisure. The foreword to the catalogue noted how ‘Peri portrays the man in the street in a medium which that man knows and understands. Road workers, builders, charwomen and the street crowds of London are his models, and the simplicity of form which characterises his work is completely in accord with the spirit of his subjects.’ (36 Soho Square 1938, foreword.) <i>Rush Hour</i> was reproduced on the cover of the exhibition catalogue and highlighted in reviews of the show. The critic from <i>The Architect</i> observed that Peri ‘tackles rather “obvious” street scenes of appalling technical difficulty (for example “Rush Hour” and “Film Queue”) but never fails to give a good account of the multitudinous relationships involved’ (quoted in Watkinson 1987, p.30).</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>London Life in Concrete</i>, exhibition catalogue, 36 Soho Square, London 1938.<br/>\n<i>Peter Peri: Memorial Exhibition Sculptures and Graphic Work</i>, exhibition catalogue, Central Library, Swiss Cottage, London 1968.<br/>Ray Watkinson, <i>Fighting Spirits: Peter Peri and Cliff Rowe</i>, exhibition catalogue, Camden Arts Centre, London 1987.</p>\n<p>Emma Chambers<br/>August 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Peter László Peri developed a method of modelling concrete without needing to cast it. This was done by gradually layering his works with different coloured wet moist concrete. His use of concrete was practical, and he made his work with the political agenda of opening art up to a wider audience. He aimed to represent ordinary people and appeal to a wide public. Rush Hour was displayed alongside Building Job (on display nearby) in the artist’s widely reviewed solo exhibition, ‘London Life in Concrete’, at 36 Soho Square in London in 1938.</p>\n</div>\n", "display_name": "Online caption", "publication_date": "2023-12-04T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]	[]	null	false		true		artwork
Pigmented concrete	[ { "append_role_to_name": false, "date": "1899–1967", "fc": "Peter László Peri", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/peter-laszlo-peri-2211" } ]	120,998	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,950	<a href="https://www.tate.org.uk/art/artists/peter-laszlo-peri-2211" aria-label="More by Peter László Peri" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Peter László Peri</a>	Woman with Arm Folded	2,019		[]	Presented by Peter Peri 2018	T15117	{ "id": 8, "meta": { "type": "art.Classification" } }			7011781 7006280 7017994 7006278 7008136 7002445 7008591	Peter László Peri	1,950	[]	<p><span>Woman with Arm Folded</span> c.1950 is one of two small coloured concrete sculptures in Tate’s collection by Peter Peri (see also <span>Woman with Hands Clasped</span> c.1950, Tate T15118). Both are from an extensive series of sculptures known as ‘Little People’ that were begun by Peri in 1948 and depict full-length female figures with a close attention to the communicative potential of posture and gesture. <span>Woman with Arm Folded </span>is sculpted in blue pigmented concrete and depicts a standing adult female figure with short hair, looking to the left, dressed in a close-fitting knee-length dress with padded shoulders. Peri first exhibited such figures in his exhibition <span>People by Peri</span> at the Artists International Association in London in 1948 and the series occupied him for the next two decades. In these small-scale concrete sculptures he captured the gestures and postures of the ordinary people going about their daily business that he observed on the streets of London. The artist wrote about these sculptures:</p>	false	1	https://media.tate.org.u…T15/T15117_9.jpg	2211	sculpture pigmented concrete	[]	Woman with Arm Folded	1,950	Tate	c.1950		CLEARED	8	object: 400 × 130 × 130 mm	accessioned work	Tate	Presented by Peter Peri 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Woman with Arm Folded</i> c.1950 is one of two small coloured concrete sculptures in Tate’s collection by Peter Peri (see also <i>Woman with Hands Clasped</i> c.1950, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/peri-woman-with-hands-clasped-t15118\" title=\"View the details of this artwork\"><span>T15118</span></a>). Both are from an extensive series of sculptures known as ‘Little People’ that were begun by Peri in 1948 and depict full-length female figures with a close attention to the communicative potential of posture and gesture. <i>Woman with Arm Folded </i>is sculpted in blue pigmented concrete and depicts a standing adult female figure with short hair, looking to the left, dressed in a close-fitting knee-length dress with padded shoulders. Peri first exhibited such figures in his exhibition <i>People by Peri</i> at the Artists International Association in London in 1948 and the series occupied him for the next two decades. In these small-scale concrete sculptures he captured the gestures and postures of the ordinary people going about their daily business that he observed on the streets of London. The artist wrote about these sculptures: </p>\n<p class=\"cttext\">\n</p><blockquote>I show [a street sweeper] not as a pompous heroic figure, but as a part of our surroundings … I have drawn my neighbour’s attention to another neighbour whom he passed a thousand times on the street, but to whom he never gave a second glance. I have shown that however common his work, he also is entitled to be the subject of a sculptor, since he is a member of our society.<br/>(Quoted in Watkinson 1987, p.33.) </blockquote>\n<p>Prior to these sculptures Peri had used pigmented concrete in works in low relief in which he developed his technique of modelling concrete rather than casting it (see <i>Rush Hour </i>1937, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/peri-rush-hour-t15116\" title=\"View the details of this artwork\"><span>T15116</span></a> and <i>Building Job </i>1937, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/peri-building-job-t05035\" title=\"View the details of this artwork\"><span>T05035</span></a>). These works also expressed his acute observations of everyday people on the streets, themes which he explored through sketches and etchings as well as sculpture (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/peri-workers-and-soldiers-unite-p14971\" title=\"View the details of this artwork\"><span>P14971</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/peri-tyranny-p14976\" title=\"View the details of this artwork\"><span>P14976</span></a>). Peri was one of the founder members of the Artists International Association and a key figure in politically engaged art in Britain from the 1930s. Having begun his career as a constructivist artist in Budapest and Berlin, his art developed in a socialist-realist direction and he came to Britain as a refugee in 1933. His realist depictions of London life were rooted in his constructivist principles, as the critic Anthony Blunt described in an article in <i>The Spectator </i>in 1936: </p>\n<p class=\"cttext\">\n</p><blockquote>A great part of Peri’s recent achievement has been the introduction into a realist idiom of the clarity and simplicity which he learnt from his experiments in abstraction. Some of the low-reliefs … are in compositional method as subtle as the cut-out designs of 1920–4. In the grandest groups … the simplicity of formal arrangement is the exact expression of a psychological situation: the groups are united by play of plane and curve, but these are supported by a unity of look and feeling.<br/>(Quoted in Watkinson 1987, p.28.)</blockquote>\n<p>\n<b>Further reading</b>\n<br/>\n<i>London Life in Concrete</i>, exhibition catalogue, 36 Soho Square, London 1938.<br/>\n<i>Peter Peri: Memorial Exhibition Sculptures and Graphic Work</i>, exhibition catalogue, Central Library, Swiss Cottage, London 1968.<br/>Ray Watkinson, <i>Fighting Spirits: Peter Peri and Cliff Rowe</i>, exhibition catalogue, Camden Arts Centre, London 1987.</p>\n<p>Emma Chambers<br/>August 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork
Pigmented concrete, paint and wood	[ { "append_role_to_name": false, "date": "1899–1967", "fc": "Peter László Peri", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/peter-laszlo-peri-2211" } ]	120,999	[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]	1,950	<a href="https://www.tate.org.uk/art/artists/peter-laszlo-peri-2211" aria-label="More by Peter László Peri" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Peter László Peri</a>	Woman with Hands Clasped	2,019		[]	Presented by Peter Peri 2018	T15118	{ "id": 8, "meta": { "type": "art.Classification" } }			7011781 7006280 7017994 7006278 7008136 7002445 7008591	Peter László Peri	1,950	[]	<p><span>Woman with Hands Clasped</span> c.1950 is one of two small coloured concrete sculptures in Tate’s collection by Peter Peri (see also <span>Woman with Arm Folded </span>c.1950, Tate T15117). Both are from an extensive series of sculptures known as ‘Little People’ that were begun by Peri in 1948 and depict full-length female figures with a close attention to the communicative potential of posture and gesture. <span>Woman with Hands Clasped </span>is sculpted in yellow pigmented concrete and depicts a young girl with shoulder-length hair pinned behind her ears, wearing a long, draped dress. Her hands are clasped behind her back and she looks upwards in an attitude of enquiry. Peri first exhibited such figures in his exhibition <span>People by Peri</span> at the Artists International Association in London in 1948 and the series occupied him for the next two decades. In these small-scale concrete sculptures he captured the gestures and postures of the ordinary people going about their daily business that he observed on the streets of London. The artist wrote about these sculptures:</p>	false	1	https://media.tate.org.u…T15/T15118_9.jpg	2211	sculpture pigmented concrete paint wood	[]	Woman with Hands Clasped	1,950	Tate	c.1950		CLEARED	8	object: 370 × 140 × 140 mm	accessioned work	Tate	Presented by Peter Peri 2018	[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Woman with Hands Clasped</i> c.1950 is one of two small coloured concrete sculptures in Tate’s collection by Peter Peri (see also <i>Woman with Arm Folded </i>c.1950, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/peri-woman-with-arm-folded-t15117\" title=\"View the details of this artwork\"><span>T15117</span></a>). Both are from an extensive series of sculptures known as ‘Little People’ that were begun by Peri in 1948 and depict full-length female figures with a close attention to the communicative potential of posture and gesture. <i>Woman with Hands Clasped </i>is sculpted in yellow pigmented concrete and depicts a young girl with shoulder-length hair pinned behind her ears, wearing a long, draped dress. Her hands are clasped behind her back and she looks upwards in an attitude of enquiry. Peri first exhibited such figures in his exhibition <i>People by Peri</i> at the Artists International Association in London in 1948 and the series occupied him for the next two decades. In these small-scale concrete sculptures he captured the gestures and postures of the ordinary people going about their daily business that he observed on the streets of London. The artist wrote about these sculptures: </p>\n<p class=\"cttext\">\n</p><blockquote>I show [a street sweeper] not as a pompous heroic figure, but as a part of our surroundings … I have drawn my neighbour’s attention to another neighbour whom he passed a thousand times on the street, but to whom he never gave a second glance. I have shown that however common his work, he also is entitled to be the subject of a sculptor, since he is a member of our society. </blockquote>\n<blockquote>(Quoted in Watkinson 1987, p.33.) </blockquote>\n<p>Prior to these sculptures Peri had used pigmented concrete in works in low relief in which he developed his technique of modelling concrete rather than casting it (see <i>Rush Hour </i>1937, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/peri-rush-hour-t15116\" title=\"View the details of this artwork\"><span>T15116</span></a>, and <i>Building Job </i>1937, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/peri-building-job-t05035\" title=\"View the details of this artwork\"><span>T05035</span></a>). These works also expressed his acute observations of everyday people on the streets, themes which he explored through sketches and etchings as well as sculpture (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/peri-workers-and-soldiers-unite-p14971\" title=\"View the details of this artwork\"><span>P14971</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/peri-tyranny-p14976\" title=\"View the details of this artwork\"><span>P14976</span></a>). Peri was one of the founder members of the Artists International Association and a key figure in politically engaged art in Britain from the 1930s. Having begun his career as a constructivist artist in Budapest and Berlin, his art developed in a socialist-realist direction and he came to Britain as a refugee in 1933. His realist depictions of London life were rooted in his constructivist principles, as the critic Anthony Blunt described in an article in <i>The Spectator </i>in 1936: </p>\n<p class=\"cttext\">\n</p><blockquote>A great part of Peri’s recent achievement has been the introduction into a realist idiom of the clarity and simplicity which he learnt from his experiments in abstraction. Some of the low-reliefs … are in compositional method as subtle as the cut-out designs of 1920–4. In the grandest groups … the simplicity of formal arrangement is the exact expression of a psychological situation: the groups are united by play of plane and curve, but these are supported by a unity of look and feeling.<br/>(Quoted in Watkinson 1987, p.28.)</blockquote>\n<p>\n<b>Further reading</b>\n<br/>\n<i>London Life in Concrete</i>, exhibition catalogue, 36 Soho Square, London 1938.<br/>\n<i>Peter Peri: Memorial Exhibition Sculptures and Graphic Work</i>, exhibition catalogue, Central Library, Swiss Cottage, London 1968.<br/>Ray Watkinson, <i>Fighting Spirits: Peter Peri and Cliff Rowe</i>, exhibition catalogue, Camden Arts Centre, London 1987.</p>\n<p>Emma Chambers<br/>August 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]	[]	null	false		false		artwork

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