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[ { "append_role_to_name": false, "date": "born 1957", "fc": "Chila Kumari Singh Burman MBE", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/chila-kumari-singh-burman-mbe-19809" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999784, "shortTitle": "Works on loan" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999973, "shortTitle": "Tate Members" }, { "id": 999999956, "shortTitle": "Collection" } ]

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[ { "artistRoomsTour": false, "dateText": "8 November 2023 – 7 April 2024", "endDate": "2024-04-07", "exhibitionLegs": [ { "dateText": "8 November 2023 – 7 April 2024", "endDate": "2024-04-07", "id": 13940, "startDate": "2023-11-08", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" }, { "dateText": "25 May 2024 – 26 January 2025", "endDate": "2025-01-26", "id": 15102, "startDate": "2024-05-25", "venueName": "Scottish National Gallery of Modern Art (Edinburgh, UK)", "venueWebsiteUrl": "http://www.nationalgalleries.org/" }, { "dateText": "7 March 2025 – 7 March 2025", "endDate": "2025-03-07", "id": 15103, "startDate": "2025-03-07", "venueName": "Whitworth Art Gallery (Manchester, UK)", "venueWebsiteUrl": "http://www.whitworth.man.ac.uk" } ], "id": 11516, "startDate": "2023-11-08", "title": "Women in Revolt! Art and Activism in the UK 1970 - 1990", "type": "Exhibition" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of a group of six unique prints in Tate’s collection from Chila Kumari Burman’s <i>Riot Series </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/burman-triptych-no-nukes-t14090\" title=\"View the details of this artwork\"><span>T14090</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/burman-militant-women-t14095\" title=\"View the details of this artwork\"><span>T14095</span></a>), each of which is individually titled. They were made in 1981 and 1982 with the master printmaker Stanley Jones (born 1933) in the Printmaking Department at the Slade School of Fine Art in London, where Burman was a student at the time. The Printmaking Department had established a reputation for experimenting with a range of techniques and this can be seen in this series. After a variety of trials, Burman and Jones decided to work with a combination of processes in each print – etching and silkscreen, etching and aquatint or etching and lithograph. The tensions generated by the combination and overlaying of two material techniques embodied the violence embedded within the subject matter of the work, echoing the theme of conflict as well as affecting the final appearance of the prints. The historian Lynda Nead has written about Burman’s process of layering images:</p>\n<p class=\"cttext\">\n</p><blockquote>Particular themes begin to emerge from Burman’s work from the 1970s and 1980s. Firstly, there is the idea of layering: of surfaces being built up, one upon another, creating dense walls of ink, paint, line and meaning. And secondly, there is the theme of fragmentation: of the image being broken up and subsequently reconstituted in order to shift stereotypes and to create radical forms of meaning.<br/>(Nead 1995<i>, </i>p.28.)</blockquote>\n<p>These characteristics are evidenced in the prints of the <i>Riot Series</i>, as described below.</p>\n<p>\n<i>Triptych No Nukes</i> 1982 (Tate <span>T14090</span>)<i> </i>is a triptych comprising three black and white monoprints, displayed side by side, depicting a group of riot police wearing gasmasks. A red pattern made up of the hazard symbol for nuclear weapons or radioactive material has been printed over the images, making reference to the title of the work. The three parts of the work embody three stages in the production of the image: the etching plate was placed in the acid for progressively longer periods so that the image was correspondingly eaten away and gradually disintegrated, becoming darker and harder to decipher. This deterioration across the three states of the image reflects the anti-nuclear sentiment behind the work.</p>\n<p>\n<i>If There is No Struggle, There is No Progress – Uprisings</i> 1981 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/burman-if-there-is-no-struggle-there-is-no-progress-uprisings-t14091\" title=\"View the details of this artwork\"><span>T14091</span></a>) is a black, white and red monoprint that has various levels of imagery superimposed one on the other. The work was made in direct response to the uprisings which took place in various cities across England in the summer of 1981, partly as a result of social unrest in response to the politics of the Thatcher government. The words ‘Liverpool’ and ‘Chapeltown’ refer to some of the locations of the uprisings. The red background depicts a newspaper-like image which is printed over with black blotches of paint and a variety of slogans such as ‘?Justice no more Equal Right’ and ‘the unpleasant features of Imperialism’. </p>\n<p>\n<i>Cut – Foot – Pupil – Uprisings</i> 1981 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/burman-cut-foot-pupil-uprisings-t14092\" title=\"View the details of this artwork\"><span>T14092</span></a>) comprises two black and white images of a policeman. The image is overlaid with a red grid-based sewing pattern for cutting out a garment. The process followed was similar to that used for <i>Triptych No Nukes</i>,<i> </i>where the plate was placed in acid repeatedly as a means to manipulate and degrade the image, but also to embody physically the violence and destruction evoked by the subject matter. The image of riot police in gasmasks recurs throughout the series. In <i>Three Mug Shots in a Row</i> 1982 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/burman-three-mug-shots-in-a-row-t14093\" title=\"View the details of this artwork\"><span>T14093</span></a>) the recurring image of a policeman wearing a gasmask and riot gear is presented as a series of mug shots, taken from three different positions: facing the front, turning to the right and turning to the left with his hands up). In <i>Red Riots on Indian Paper </i>1981 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/burman-red-riots-on-indian-paper-t14094\" title=\"View the details of this artwork\"><span>T14094</span></a>) a ragged black line is formed diagonally by an image of a dense group of riot police in gas masks, set against a background of red and white which becomes pure red in the top and bottom thirds of the sheet. </p>\n<p>In contrast, Burman made <i>Militant Women</i> 1982 (Tate <span>T14095</span>) when she started to be involved in the production of the South Asian Feminist magazine, <i>Mukti</i> (1982–6). The print depicts a variety of black and white images of women referring to female road builders in India, executed female prisoners in England and females facing the Pass Law in Apartheid South Africa, whereby non-whites were forced to carry documents as a means of restricting their movement. This shift to a broader subject matter looks forward to Burman’s later work which has focused mostly on female identity within a global context. This includes a number of self-portraits which are aimed at breaking perceived stereotypes of Asian women. She has said:</p>\n<p class=\"cttext\">\n</p><blockquote>My work is about reclaiming the image of Asian women, moving away from the object of the defining gaze, towards a position where I/Asian woman become the subject of display. My self-portraits construct a femininity that resists the racist stereotype of the passive, exotic Asian woman, imprisoned by male patriarchal culture. Rather I become the maker and definer of my own image.<br/>(Quoted in ibid.,<i> </i>p.61.)</blockquote>\n<p>Burman belongs to a generation of Black British artists whose families had settled in post-war Britain and who emerged onto the art world in the early 1980s. Alongside artists such as Lubaina Himid (born 1954), Eddie Chambers (born 1960) and Sonia Boyce (born 1962), her work raised issues around inclusion and visibility within the mainstream art establishment. Burman produced her most political works in the early 1980s, primarily as a reaction to riots and social unrest taking place around Britain at the time. She has often worked with innovative techniques, frequently combining processes and media such as photography and painting, photocopying and drawing within her works. She regards printmaking as fundamental to her practice for its non-hierarchical qualities, describing it as ‘democratic, versatile, colourful, creative, experimental, [a] drawing and photographic medium’ (quoted in ibid., p.28). </p>\n<p>The <i>Riot Series </i>prints were exhibited for the first time in 1982 at Burman’s post-graduate show at the Slade. They were later shown in the <i>Indian Artists UK Festival of India</i> at the Barbican, London in 1983, <i>The Thin Black Line</i>, at the ICA, London in 1985, curated by Lubaina Himid, and at Liverpool’s Bluecoat Gallery in 1995.</p>\n<p>\n<b>Further reading</b>\n<br/>Lynda Nead, <i>Chila Kumari Burman, Beyond Two Cultures</i>, London 1995.</p>\n<p>Leyla Fakhr<br/>October 2013</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-07-31T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This work was made in direct response to the 1981 uprisings, as young people across England clashed with police over ongoing racial discrimination and violence. Significant protests took place across Birmingham, Leeds, Liverpool, London, Manchester and Nottingham. Burman highlights areas of these cities where uprisings took place.  The artist includes an image of a police officer wearing a gas mask, which features in other works she made at the same time. This motif likely references the police use of CS gas grenades to disperse protestors in Toxteth, Liverpool – the first time these had been used in the UK outside of Northern Ireland.   </p>\n</div>\n", "display_name": "Display caption", "publication_date": "2023-11-28T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[]

[ { "append_role_to_name": false, "date": "born 1957", "fc": "Chila Kumari Singh Burman MBE", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/chila-kumari-singh-burman-mbe-19809" } ]

[ { "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" } ]

[]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of a group of six unique prints in Tate’s collection from Chila Kumari Burman’s <i>Riot Series </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/burman-triptych-no-nukes-t14090\" title=\"View the details of this artwork\"><span>T14090</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/burman-militant-women-t14095\" title=\"View the details of this artwork\"><span>T14095</span></a>), each of which is individually titled. They were made in 1981 and 1982 with the master printmaker Stanley Jones (born 1933) in the Printmaking Department at the Slade School of Fine Art in London, where Burman was a student at the time. The Printmaking Department had established a reputation for experimenting with a range of techniques and this can be seen in this series. After a variety of trials, Burman and Jones decided to work with a combination of processes in each print – etching and silkscreen, etching and aquatint or etching and lithograph. The tensions generated by the combination and overlaying of two material techniques embodied the violence embedded within the subject matter of the work, echoing the theme of conflict as well as affecting the final appearance of the prints. The historian Lynda Nead has written about Burman’s process of layering images:</p>\n<p class=\"cttext\">\n</p><blockquote>Particular themes begin to emerge from Burman’s work from the 1970s and 1980s. Firstly, there is the idea of layering: of surfaces being built up, one upon another, creating dense walls of ink, paint, line and meaning. And secondly, there is the theme of fragmentation: of the image being broken up and subsequently reconstituted in order to shift stereotypes and to create radical forms of meaning.<br/>(Nead 1995<i>, </i>p.28.)</blockquote>\n<p>These characteristics are evidenced in the prints of the <i>Riot Series</i>, as described below.</p>\n<p>\n<i>Triptych No Nukes</i> 1982 (Tate <span>T14090</span>)<i> </i>is a triptych comprising three black and white monoprints, displayed side by side, depicting a group of riot police wearing gasmasks. A red pattern made up of the hazard symbol for nuclear weapons or radioactive material has been printed over the images, making reference to the title of the work. The three parts of the work embody three stages in the production of the image: the etching plate was placed in the acid for progressively longer periods so that the image was correspondingly eaten away and gradually disintegrated, becoming darker and harder to decipher. This deterioration across the three states of the image reflects the anti-nuclear sentiment behind the work.</p>\n<p>\n<i>If There is No Struggle, There is No Progress – Uprisings</i> 1981 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/burman-if-there-is-no-struggle-there-is-no-progress-uprisings-t14091\" title=\"View the details of this artwork\"><span>T14091</span></a>) is a black, white and red monoprint that has various levels of imagery superimposed one on the other. The work was made in direct response to the uprisings which took place in various cities across England in the summer of 1981, partly as a result of social unrest in response to the politics of the Thatcher government. The words ‘Liverpool’ and ‘Chapeltown’ refer to some of the locations of the uprisings. The red background depicts a newspaper-like image which is printed over with black blotches of paint and a variety of slogans such as ‘?Justice no more Equal Right’ and ‘the unpleasant features of Imperialism’. </p>\n<p>\n<i>Cut – Foot – Pupil – Uprisings</i> 1981 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/burman-cut-foot-pupil-uprisings-t14092\" title=\"View the details of this artwork\"><span>T14092</span></a>) comprises two black and white images of a policeman. The image is overlaid with a red grid-based sewing pattern for cutting out a garment. The process followed was similar to that used for <i>Triptych No Nukes</i>,<i> </i>where the plate was placed in acid repeatedly as a means to manipulate and degrade the image, but also to embody physically the violence and destruction evoked by the subject matter. The image of riot police in gasmasks recurs throughout the series. In <i>Three Mug Shots in a Row</i> 1982 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/burman-three-mug-shots-in-a-row-t14093\" title=\"View the details of this artwork\"><span>T14093</span></a>) the recurring image of a policeman wearing a gasmask and riot gear is presented as a series of mug shots, taken from three different positions: facing the front, turning to the right and turning to the left with his hands up). In <i>Red Riots on Indian Paper </i>1981 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/burman-red-riots-on-indian-paper-t14094\" title=\"View the details of this artwork\"><span>T14094</span></a>) a ragged black line is formed diagonally by an image of a dense group of riot police in gas masks, set against a background of red and white which becomes pure red in the top and bottom thirds of the sheet. </p>\n<p>In contrast, Burman made <i>Militant Women</i> 1982 (Tate <span>T14095</span>) when she started to be involved in the production of the South Asian Feminist magazine, <i>Mukti</i> (1982–6). The print depicts a variety of black and white images of women referring to female road builders in India, executed female prisoners in England and females facing the Pass Law in Apartheid South Africa, whereby non-whites were forced to carry documents as a means of restricting their movement. This shift to a broader subject matter looks forward to Burman’s later work which has focused mostly on female identity within a global context. This includes a number of self-portraits which are aimed at breaking perceived stereotypes of Asian women. She has said:</p>\n<p class=\"cttext\">\n</p><blockquote>My work is about reclaiming the image of Asian women, moving away from the object of the defining gaze, towards a position where I/Asian woman become the subject of display. My self-portraits construct a femininity that resists the racist stereotype of the passive, exotic Asian woman, imprisoned by male patriarchal culture. Rather I become the maker and definer of my own image.<br/>(Quoted in ibid.,<i> </i>p.61.)</blockquote>\n<p>Burman belongs to a generation of Black British artists whose families had settled in post-war Britain and who emerged onto the art world in the early 1980s. Alongside artists such as Lubaina Himid (born 1954), Eddie Chambers (born 1960) and Sonia Boyce (born 1962), her work raised issues around inclusion and visibility within the mainstream art establishment. Burman produced her most political works in the early 1980s, primarily as a reaction to riots and social unrest taking place around Britain at the time. She has often worked with innovative techniques, frequently combining processes and media such as photography and painting, photocopying and drawing within her works. She regards printmaking as fundamental to her practice for its non-hierarchical qualities, describing it as ‘democratic, versatile, colourful, creative, experimental, [a] drawing and photographic medium’ (quoted in ibid., p.28). </p>\n<p>The <i>Riot Series </i>prints were exhibited for the first time in 1982 at Burman’s post-graduate show at the Slade. They were later shown in the <i>Indian Artists UK Festival of India</i> at the Barbican, London in 1983, <i>The Thin Black Line</i>, at the ICA, London in 1985, curated by Lubaina Himid, and at Liverpool’s Bluecoat Gallery in 1995.</p>\n<p>\n<b>Further reading</b>\n<br/>Lynda Nead, <i>Chila Kumari Burman, Beyond Two Cultures</i>, London 1995.</p>\n<p>Leyla Fakhr<br/>October 2013</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-07-31T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[]

[ { "append_role_to_name": false, "date": "born 1957", "fc": "Chila Kumari Singh Burman MBE", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/chila-kumari-singh-burman-mbe-19809" } ]

[ { "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" } ]

[]

[]

[ { "artistRoomsTour": false, "dateText": "8 November 2023 – 7 April 2024", "endDate": "2024-04-07", "exhibitionLegs": [ { "dateText": "8 November 2023 – 7 April 2024", "endDate": "2024-04-07", "id": 13940, "startDate": "2023-11-08", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 11516, "startDate": "2023-11-08", "title": "Women in Revolt! Art and Activism in the UK 1970 - 1990", "type": "Exhibition" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of a group of six unique prints in Tate’s collection from Chila Kumari Burman’s <i>Riot Series </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/burman-triptych-no-nukes-t14090\" title=\"View the details of this artwork\"><span>T14090</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/burman-militant-women-t14095\" title=\"View the details of this artwork\"><span>T14095</span></a>), each of which is individually titled. They were made in 1981 and 1982 with the master printmaker Stanley Jones (born 1933) in the Printmaking Department at the Slade School of Fine Art in London, where Burman was a student at the time. The Printmaking Department had established a reputation for experimenting with a range of techniques and this can be seen in this series. After a variety of trials, Burman and Jones decided to work with a combination of processes in each print – etching and silkscreen, etching and aquatint or etching and lithograph. The tensions generated by the combination and overlaying of two material techniques embodied the violence embedded within the subject matter of the work, echoing the theme of conflict as well as affecting the final appearance of the prints. The historian Lynda Nead has written about Burman’s process of layering images:</p>\n<p class=\"cttext\">\n</p><blockquote>Particular themes begin to emerge from Burman’s work from the 1970s and 1980s. Firstly, there is the idea of layering: of surfaces being built up, one upon another, creating dense walls of ink, paint, line and meaning. And secondly, there is the theme of fragmentation: of the image being broken up and subsequently reconstituted in order to shift stereotypes and to create radical forms of meaning.<br/>(Nead 1995<i>, </i>p.28.)</blockquote>\n<p>These characteristics are evidenced in the prints of the <i>Riot Series</i>, as described below.</p>\n<p>\n<i>Triptych No Nukes</i> 1982 (Tate <span>T14090</span>)<i> </i>is a triptych comprising three black and white monoprints, displayed side by side, depicting a group of riot police wearing gasmasks. A red pattern made up of the hazard symbol for nuclear weapons or radioactive material has been printed over the images, making reference to the title of the work. The three parts of the work embody three stages in the production of the image: the etching plate was placed in the acid for progressively longer periods so that the image was correspondingly eaten away and gradually disintegrated, becoming darker and harder to decipher. This deterioration across the three states of the image reflects the anti-nuclear sentiment behind the work.</p>\n<p>\n<i>If There is No Struggle, There is No Progress – Uprisings</i> 1981 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/burman-if-there-is-no-struggle-there-is-no-progress-uprisings-t14091\" title=\"View the details of this artwork\"><span>T14091</span></a>) is a black, white and red monoprint that has various levels of imagery superimposed one on the other. The work was made in direct response to the uprisings which took place in various cities across England in the summer of 1981, partly as a result of social unrest in response to the politics of the Thatcher government. The words ‘Liverpool’ and ‘Chapeltown’ refer to some of the locations of the uprisings. The red background depicts a newspaper-like image which is printed over with black blotches of paint and a variety of slogans such as ‘?Justice no more Equal Right’ and ‘the unpleasant features of Imperialism’. </p>\n<p>\n<i>Cut – Foot – Pupil – Uprisings</i> 1981 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/burman-cut-foot-pupil-uprisings-t14092\" title=\"View the details of this artwork\"><span>T14092</span></a>) comprises two black and white images of a policeman. The image is overlaid with a red grid-based sewing pattern for cutting out a garment. The process followed was similar to that used for <i>Triptych No Nukes</i>,<i> </i>where the plate was placed in acid repeatedly as a means to manipulate and degrade the image, but also to embody physically the violence and destruction evoked by the subject matter. The image of riot police in gasmasks recurs throughout the series. In <i>Three Mug Shots in a Row</i> 1982 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/burman-three-mug-shots-in-a-row-t14093\" title=\"View the details of this artwork\"><span>T14093</span></a>) the recurring image of a policeman wearing a gasmask and riot gear is presented as a series of mug shots, taken from three different positions: facing the front, turning to the right and turning to the left with his hands up). In <i>Red Riots on Indian Paper </i>1981 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/burman-red-riots-on-indian-paper-t14094\" title=\"View the details of this artwork\"><span>T14094</span></a>) a ragged black line is formed diagonally by an image of a dense group of riot police in gas masks, set against a background of red and white which becomes pure red in the top and bottom thirds of the sheet. </p>\n<p>In contrast, Burman made <i>Militant Women</i> 1982 (Tate <span>T14095</span>) when she started to be involved in the production of the South Asian Feminist magazine, <i>Mukti</i> (1982–6). The print depicts a variety of black and white images of women referring to female road builders in India, executed female prisoners in England and females facing the Pass Law in Apartheid South Africa, whereby non-whites were forced to carry documents as a means of restricting their movement. This shift to a broader subject matter looks forward to Burman’s later work which has focused mostly on female identity within a global context. This includes a number of self-portraits which are aimed at breaking perceived stereotypes of Asian women. She has said:</p>\n<p class=\"cttext\">\n</p><blockquote>My work is about reclaiming the image of Asian women, moving away from the object of the defining gaze, towards a position where I/Asian woman become the subject of display. My self-portraits construct a femininity that resists the racist stereotype of the passive, exotic Asian woman, imprisoned by male patriarchal culture. Rather I become the maker and definer of my own image.<br/>(Quoted in ibid.,<i> </i>p.61.)</blockquote>\n<p>Burman belongs to a generation of Black British artists whose families had settled in post-war Britain and who emerged onto the art world in the early 1980s. Alongside artists such as Lubaina Himid (born 1954), Eddie Chambers (born 1960) and Sonia Boyce (born 1962), her work raised issues around inclusion and visibility within the mainstream art establishment. Burman produced her most political works in the early 1980s, primarily as a reaction to riots and social unrest taking place around Britain at the time. She has often worked with innovative techniques, frequently combining processes and media such as photography and painting, photocopying and drawing within her works. She regards printmaking as fundamental to her practice for its non-hierarchical qualities, describing it as ‘democratic, versatile, colourful, creative, experimental, [a] drawing and photographic medium’ (quoted in ibid., p.28). </p>\n<p>The <i>Riot Series </i>prints were exhibited for the first time in 1982 at Burman’s post-graduate show at the Slade. They were later shown in the <i>Indian Artists UK Festival of India</i> at the Barbican, London in 1983, <i>The Thin Black Line</i>, at the ICA, London in 1985, curated by Lubaina Himid, and at Liverpool’s Bluecoat Gallery in 1995.</p>\n<p>\n<b>Further reading</b>\n<br/>Lynda Nead, <i>Chila Kumari Burman, Beyond Two Cultures</i>, London 1995.</p>\n<p>Leyla Fakhr<br/>October 2013</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-07-31T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[]

[ { "append_role_to_name": false, "date": "born 1957", "fc": "Chila Kumari Singh Burman MBE", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/chila-kumari-singh-burman-mbe-19809" } ]

[ { "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" } ]

[]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of a group of six unique prints in Tate’s collection from Chila Kumari Burman’s <i>Riot Series </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/burman-triptych-no-nukes-t14090\" title=\"View the details of this artwork\"><span>T14090</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/burman-militant-women-t14095\" title=\"View the details of this artwork\"><span>T14095</span></a>), each of which is individually titled. They were made in 1981 and 1982 with the master printmaker Stanley Jones (born 1933) in the Printmaking Department at the Slade School of Fine Art in London, where Burman was a student at the time. The Printmaking Department had established a reputation for experimenting with a range of techniques and this can be seen in this series. After a variety of trials, Burman and Jones decided to work with a combination of processes in each print – etching and silkscreen, etching and aquatint or etching and lithograph. The tensions generated by the combination and overlaying of two material techniques embodied the violence embedded within the subject matter of the work, echoing the theme of conflict as well as affecting the final appearance of the prints. The historian Lynda Nead has written about Burman’s process of layering images:</p>\n<p class=\"cttext\">\n</p><blockquote>Particular themes begin to emerge from Burman’s work from the 1970s and 1980s. Firstly, there is the idea of layering: of surfaces being built up, one upon another, creating dense walls of ink, paint, line and meaning. And secondly, there is the theme of fragmentation: of the image being broken up and subsequently reconstituted in order to shift stereotypes and to create radical forms of meaning.<br/>(Nead 1995<i>, </i>p.28.)</blockquote>\n<p>These characteristics are evidenced in the prints of the <i>Riot Series</i>, as described below.</p>\n<p>\n<i>Triptych No Nukes</i> 1982 (Tate <span>T14090</span>)<i> </i>is a triptych comprising three black and white monoprints, displayed side by side, depicting a group of riot police wearing gasmasks. A red pattern made up of the hazard symbol for nuclear weapons or radioactive material has been printed over the images, making reference to the title of the work. The three parts of the work embody three stages in the production of the image: the etching plate was placed in the acid for progressively longer periods so that the image was correspondingly eaten away and gradually disintegrated, becoming darker and harder to decipher. This deterioration across the three states of the image reflects the anti-nuclear sentiment behind the work.</p>\n<p>\n<i>If There is No Struggle, There is No Progress – Uprisings</i> 1981 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/burman-if-there-is-no-struggle-there-is-no-progress-uprisings-t14091\" title=\"View the details of this artwork\"><span>T14091</span></a>) is a black, white and red monoprint that has various levels of imagery superimposed one on the other. The work was made in direct response to the uprisings which took place in various cities across England in the summer of 1981, partly as a result of social unrest in response to the politics of the Thatcher government. The words ‘Liverpool’ and ‘Chapeltown’ refer to some of the locations of the uprisings. The red background depicts a newspaper-like image which is printed over with black blotches of paint and a variety of slogans such as ‘?Justice no more Equal Right’ and ‘the unpleasant features of Imperialism’. </p>\n<p>\n<i>Cut – Foot – Pupil – Uprisings</i> 1981 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/burman-cut-foot-pupil-uprisings-t14092\" title=\"View the details of this artwork\"><span>T14092</span></a>) comprises two black and white images of a policeman. The image is overlaid with a red grid-based sewing pattern for cutting out a garment. The process followed was similar to that used for <i>Triptych No Nukes</i>,<i> </i>where the plate was placed in acid repeatedly as a means to manipulate and degrade the image, but also to embody physically the violence and destruction evoked by the subject matter. The image of riot police in gasmasks recurs throughout the series. In <i>Three Mug Shots in a Row</i> 1982 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/burman-three-mug-shots-in-a-row-t14093\" title=\"View the details of this artwork\"><span>T14093</span></a>) the recurring image of a policeman wearing a gasmask and riot gear is presented as a series of mug shots, taken from three different positions: facing the front, turning to the right and turning to the left with his hands up). In <i>Red Riots on Indian Paper </i>1981 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/burman-red-riots-on-indian-paper-t14094\" title=\"View the details of this artwork\"><span>T14094</span></a>) a ragged black line is formed diagonally by an image of a dense group of riot police in gas masks, set against a background of red and white which becomes pure red in the top and bottom thirds of the sheet. </p>\n<p>In contrast, Burman made <i>Militant Women</i> 1982 (Tate <span>T14095</span>) when she started to be involved in the production of the South Asian Feminist magazine, <i>Mukti</i> (1982–6). The print depicts a variety of black and white images of women referring to female road builders in India, executed female prisoners in England and females facing the Pass Law in Apartheid South Africa, whereby non-whites were forced to carry documents as a means of restricting their movement. This shift to a broader subject matter looks forward to Burman’s later work which has focused mostly on female identity within a global context. This includes a number of self-portraits which are aimed at breaking perceived stereotypes of Asian women. She has said:</p>\n<p class=\"cttext\">\n</p><blockquote>My work is about reclaiming the image of Asian women, moving away from the object of the defining gaze, towards a position where I/Asian woman become the subject of display. My self-portraits construct a femininity that resists the racist stereotype of the passive, exotic Asian woman, imprisoned by male patriarchal culture. Rather I become the maker and definer of my own image.<br/>(Quoted in ibid.,<i> </i>p.61.)</blockquote>\n<p>Burman belongs to a generation of Black British artists whose families had settled in post-war Britain and who emerged onto the art world in the early 1980s. Alongside artists such as Lubaina Himid (born 1954), Eddie Chambers (born 1960) and Sonia Boyce (born 1962), her work raised issues around inclusion and visibility within the mainstream art establishment. Burman produced her most political works in the early 1980s, primarily as a reaction to riots and social unrest taking place around Britain at the time. She has often worked with innovative techniques, frequently combining processes and media such as photography and painting, photocopying and drawing within her works. She regards printmaking as fundamental to her practice for its non-hierarchical qualities, describing it as ‘democratic, versatile, colourful, creative, experimental, [a] drawing and photographic medium’ (quoted in ibid., p.28). </p>\n<p>The <i>Riot Series </i>prints were exhibited for the first time in 1982 at Burman’s post-graduate show at the Slade. They were later shown in the <i>Indian Artists UK Festival of India</i> at the Barbican, London in 1983, <i>The Thin Black Line</i>, at the ICA, London in 1985, curated by Lubaina Himid, and at Liverpool’s Bluecoat Gallery in 1995.</p>\n<p>\n<b>Further reading</b>\n<br/>Lynda Nead, <i>Chila Kumari Burman, Beyond Two Cultures</i>, London 1995.</p>\n<p>Leyla Fakhr<br/>October 2013</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-07-31T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[]

[ { "append_role_to_name": false, "date": "born 1957", "fc": "Chila Kumari Singh Burman MBE", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/chila-kumari-singh-burman-mbe-19809" } ]

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[]

[]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of a group of six unique prints in Tate’s collection from Chila Kumari Burman’s <i>Riot Series </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/burman-triptych-no-nukes-t14090\" title=\"View the details of this artwork\"><span>T14090</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/burman-militant-women-t14095\" title=\"View the details of this artwork\"><span>T14095</span></a>), each of which is individually titled. They were made in 1981 and 1982 with the master printmaker Stanley Jones (born 1933) in the Printmaking Department at the Slade School of Fine Art in London, where Burman was a student at the time. The Printmaking Department had established a reputation for experimenting with a range of techniques and this can be seen in this series. After a variety of trials, Burman and Jones decided to work with a combination of processes in each print – etching and silkscreen, etching and aquatint or etching and lithograph. The tensions generated by the combination and overlaying of two material techniques embodied the violence embedded within the subject matter of the work, echoing the theme of conflict as well as affecting the final appearance of the prints. The historian Lynda Nead has written about Burman’s process of layering images:</p>\n<p class=\"cttext\">\n</p><blockquote>Particular themes begin to emerge from Burman’s work from the 1970s and 1980s. Firstly, there is the idea of layering: of surfaces being built up, one upon another, creating dense walls of ink, paint, line and meaning. And secondly, there is the theme of fragmentation: of the image being broken up and subsequently reconstituted in order to shift stereotypes and to create radical forms of meaning.<br/>(Nead 1995<i>, </i>p.28.)</blockquote>\n<p>These characteristics are evidenced in the prints of the <i>Riot Series</i>, as described below.</p>\n<p>\n<i>Triptych No Nukes</i> 1982 (Tate <span>T14090</span>)<i> </i>is a triptych comprising three black and white monoprints, displayed side by side, depicting a group of riot police wearing gasmasks. A red pattern made up of the hazard symbol for nuclear weapons or radioactive material has been printed over the images, making reference to the title of the work. The three parts of the work embody three stages in the production of the image: the etching plate was placed in the acid for progressively longer periods so that the image was correspondingly eaten away and gradually disintegrated, becoming darker and harder to decipher. This deterioration across the three states of the image reflects the anti-nuclear sentiment behind the work.</p>\n<p>\n<i>If There is No Struggle, There is No Progress – Uprisings</i> 1981 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/burman-if-there-is-no-struggle-there-is-no-progress-uprisings-t14091\" title=\"View the details of this artwork\"><span>T14091</span></a>) is a black, white and red monoprint that has various levels of imagery superimposed one on the other. The work was made in direct response to the uprisings which took place in various cities across England in the summer of 1981, partly as a result of social unrest in response to the politics of the Thatcher government. The words ‘Liverpool’ and ‘Chapeltown’ refer to some of the locations of the uprisings. The red background depicts a newspaper-like image which is printed over with black blotches of paint and a variety of slogans such as ‘?Justice no more Equal Right’ and ‘the unpleasant features of Imperialism’. </p>\n<p>\n<i>Cut – Foot – Pupil – Uprisings</i> 1981 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/burman-cut-foot-pupil-uprisings-t14092\" title=\"View the details of this artwork\"><span>T14092</span></a>) comprises two black and white images of a policeman. The image is overlaid with a red grid-based sewing pattern for cutting out a garment. The process followed was similar to that used for <i>Triptych No Nukes</i>,<i> </i>where the plate was placed in acid repeatedly as a means to manipulate and degrade the image, but also to embody physically the violence and destruction evoked by the subject matter. The image of riot police in gasmasks recurs throughout the series. In <i>Three Mug Shots in a Row</i> 1982 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/burman-three-mug-shots-in-a-row-t14093\" title=\"View the details of this artwork\"><span>T14093</span></a>) the recurring image of a policeman wearing a gasmask and riot gear is presented as a series of mug shots, taken from three different positions: facing the front, turning to the right and turning to the left with his hands up). In <i>Red Riots on Indian Paper </i>1981 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/burman-red-riots-on-indian-paper-t14094\" title=\"View the details of this artwork\"><span>T14094</span></a>) a ragged black line is formed diagonally by an image of a dense group of riot police in gas masks, set against a background of red and white which becomes pure red in the top and bottom thirds of the sheet. </p>\n<p>In contrast, Burman made <i>Militant Women</i> 1982 (Tate <span>T14095</span>) when she started to be involved in the production of the South Asian Feminist magazine, <i>Mukti</i> (1982–6). The print depicts a variety of black and white images of women referring to female road builders in India, executed female prisoners in England and females facing the Pass Law in Apartheid South Africa, whereby non-whites were forced to carry documents as a means of restricting their movement. This shift to a broader subject matter looks forward to Burman’s later work which has focused mostly on female identity within a global context. This includes a number of self-portraits which are aimed at breaking perceived stereotypes of Asian women. She has said:</p>\n<p class=\"cttext\">\n</p><blockquote>My work is about reclaiming the image of Asian women, moving away from the object of the defining gaze, towards a position where I/Asian woman become the subject of display. My self-portraits construct a femininity that resists the racist stereotype of the passive, exotic Asian woman, imprisoned by male patriarchal culture. Rather I become the maker and definer of my own image.<br/>(Quoted in ibid.,<i> </i>p.61.)</blockquote>\n<p>Burman belongs to a generation of Black British artists whose families had settled in post-war Britain and who emerged onto the art world in the early 1980s. Alongside artists such as Lubaina Himid (born 1954), Eddie Chambers (born 1960) and Sonia Boyce (born 1962), her work raised issues around inclusion and visibility within the mainstream art establishment. Burman produced her most political works in the early 1980s, primarily as a reaction to riots and social unrest taking place around Britain at the time. She has often worked with innovative techniques, frequently combining processes and media such as photography and painting, photocopying and drawing within her works. She regards printmaking as fundamental to her practice for its non-hierarchical qualities, describing it as ‘democratic, versatile, colourful, creative, experimental, [a] drawing and photographic medium’ (quoted in ibid., p.28). </p>\n<p>The <i>Riot Series </i>prints were exhibited for the first time in 1982 at Burman’s post-graduate show at the Slade. They were later shown in the <i>Indian Artists UK Festival of India</i> at the Barbican, London in 1983, <i>The Thin Black Line</i>, at the ICA, London in 1985, curated by Lubaina Himid, and at Liverpool’s Bluecoat Gallery in 1995.</p>\n<p>\n<b>Further reading</b>\n<br/>Lynda Nead, <i>Chila Kumari Burman, Beyond Two Cultures</i>, London 1995.</p>\n<p>Leyla Fakhr<br/>October 2013</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-07-31T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of six prints from Burman’s <i>Riot Series, </i>which combine etching, lithography and aquatint. The art historian Lynda Nead (born 1957) writes of Burman’s process of layering images: ‘Firstly, there is the idea of layering: of surfaces being built up, one upon another, creating dense walls of ink, paint, line and meaning. And secondly, there is the theme of fragmentation: of the image being broken up and subsequently reconstituted in order to shift stereotypes and to create radical forms of meaning.’ </p>\n</div>\n", "display_name": "Display caption", "publication_date": "2023-11-28T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[]

[ { "append_role_to_name": false, "date": "born 1971", "fc": "Gillian Carnegie", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/gillian-carnegie-5248" } ]

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[ { "artistRoomsTour": false, "dateText": "9 November 2013 – 9 February 2014", "endDate": "2014-02-09", "exhibitionLegs": [ { "dateText": "9 November 2013 – 9 February 2014", "endDate": "2014-02-09", "id": 7942, "startDate": "2013-11-09", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 6506, "startDate": "2013-11-09", "title": "Painting Now: Five Contemporary Artists", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "14 March 2014 – 15 March 2015", "endDate": "2015-03-15", "exhibitionLegs": [ { "dateText": "14 March 2014 – 15 March 2015", "endDate": "2015-03-15", "id": 8708, "startDate": "2014-03-14", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 7148, "startDate": "2014-03-14", "title": "Gallery 55, 56 and 59", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "12 October 2018", "endDate": null, "exhibitionLegs": [ { "dateText": "12 October 2018", "endDate": null, "id": 12526, "startDate": "2018-10-12", "venueName": "Tate Liverpool (Liverpool, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/liverpool/" } ], "id": 10324, "startDate": "2018-10-12", "title": "Ideas Depot", "type": "Collection based display" } ]

[]

[ "architecture", "features", "stair / step" ]

[ { "append_role_to_name": false, "date": "born 1971", "fc": "Gillian Carnegie", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/gillian-carnegie-5248" } ]

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

[ { "append_role_to_name": false, "date": "born 1937", "fc": "David Hockney", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/david-hockney-1293" } ]

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[ { "artistRoomsTour": false, "dateText": "8 November 2014 – 22 February 2015", "endDate": "2015-02-22", "exhibitionLegs": [ { "dateText": "8 November 2014 – 22 February 2015", "endDate": "2015-02-22", "id": 7827, "startDate": "2014-11-08", "venueName": "LWL-Landesmuseum für Kunst und Kulturgeschichte Westfälisches (Munster, Germany)", "venueWebsiteUrl": "http://landesmuseum.lwl.org" } ], "id": 6413, "startDate": "2014-11-08", "title": "Bare Life. Bacon, Freud, Hockney and others. London artists working from life 1950-80", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "16 October 2015 – 6 November 2016", "endDate": "2016-11-06", "exhibitionLegs": [ { "dateText": "16 October 2015 – 6 November 2016", "endDate": "2016-11-06", "id": 9954, "startDate": "2015-10-16", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 8200, "startDate": "2015-10-16", "title": "Hockney Double Portraits", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "21 March 2019 – 28 May 2023", "endDate": "2023-05-28", "exhibitionLegs": [ { "dateText": "21 March 2019 – 4 August 2019", "endDate": "2019-08-04", "id": 12446, "startDate": "2019-03-21", "venueName": "Seoul Museum of Art (Seoul, South Korea)", "venueWebsiteUrl": "http://seoulmoa.org/html/eng/menu01/contents05.jsp" }, { "dateText": "1 September 2019 – 1 January 2020", "endDate": "2020-01-01", "id": 13276, "startDate": "2019-09-01", "venueName": "M Woods Museum (Beijing, China)", "venueWebsiteUrl": null }, { "dateText": "1 February 2020 – 13 September 2020", "endDate": "2020-09-13", "id": 12448, "startDate": "2020-02-01", "venueName": "Bucerius Kunst Forum (Hamburg, Germany)", "venueWebsiteUrl": "http://www.buceriuskunstforum.de" }, { "dateText": "18 October 2021 – 23 January 2022", "endDate": "2022-01-23", "id": 14524, "startDate": "2021-10-18", "venueName": "Centre for Fine Arts - BOZAR (Brussels, Belgium)", "venueWebsiteUrl": null }, { "dateText": "10 February 2022 – 19 June 2022", "endDate": "2022-06-19", "id": 13810, "startDate": "2022-02-10", "venueName": "Kunstforum Wien (Vienna, Austria)", "venueWebsiteUrl": "http://www.kunstforum-wien.at" }, { "dateText": "8 July 2022 – 30 October 2022", "endDate": "2022-10-30", "id": 14525, "startDate": "2022-07-08", "venueName": "Kunstmuseum (Luzern, Switzerland)", "venueWebsiteUrl": "http://www.kunstmuseumluzern.ch" }, { "dateText": "28 January 2023 – 28 May 2023", "endDate": "2023-05-28", "id": 13811, "startDate": "2023-01-28", "venueName": "Musée Granet (Aix-en-Provence, France)", "venueWebsiteUrl": null }, { "dateText": null, "endDate": null, "id": 13812, "startDate": null, "venueName": "Palazzo Reale (Milan, Italy)", "venueWebsiteUrl": null } ], "id": 10250, "startDate": "2019-03-21", "title": "David Hockney", "type": "Tate partnerships & programmes" }, { "artistRoomsTour": false, "dateText": "15 July 2023 – 5 November 2023", "endDate": "2023-11-05", "exhibitionLegs": [ { "dateText": "15 July 2023 – 5 November 2023", "endDate": "2023-11-05", "id": 13766, "startDate": "2023-07-15", "venueName": "Museum of Contemporary Art Tokyo (Tokyo, Japan)", "venueWebsiteUrl": null } ], "id": 11370, "startDate": "2023-07-15", "title": "David Hockney, in collaboration with the Hockney Studio", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "1 January 2026 – 31 May 2026", "endDate": "2026-05-31", "exhibitionLegs": [ { "dateText": "1 January 2026 – 31 May 2026", "endDate": "2026-05-31", "id": 16040, "startDate": "2026-01-01", "venueName": "Kunstmuseum Den Haag (The Hague, Netherlands)", "venueWebsiteUrl": null } ], "id": 13151, "startDate": "2026-01-01", "title": "School of London - The Hague", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>George Lawson and Wayne Sleep</i> 1972−5 is one of the last paintings from a sequence of large double portraits that occupied David Hockney between 1968 and 1977, although the artist never fully finished it. The ten-foot, landscape-format painting shows the antiquarian book dealer George Lawson sitting on a stool at a clavichord placed against a wall. His right hand holds down a key on the keyboard, but his body is turned away from the clavichord and towards the open window to the left of the painting − he thus appears in profile and marks the centre of the painting. Immediately to the left of the clavichord and adjacent to the window is a doorway with the door ajar; in this opening stands the ballet dancer Wayne Sleep, leaning against the doorframe by his left elbow and with his legs crossed − a casual <i>contrapposto</i> pose that is echoed by the curtains pulled to the side of the window. The casual pose and clothing of Sleep − T-shirt, white trousers and correspondent shoes − is in contrast to the more formal green suit, bow tie and polished black shoes worn by Lawson. The setting for the painting was Lawson’s flat in Wigmore Place, London (<a href=\"https://www.tate.org.uk/tate-etc/issue-36-spring-2016/sitting-hockney\">https://www.tate.org.uk/tate-etc/issue-36-spring-2016/sitting-hockney</a>, accessed 4 February 2020). The note played on the clavichord – initially recalled by Sleep as being an A-Flat − was the punning title that Lawson suggested to Hockney for the painting. However, he later recalled that the note was in fact a G: ‘According to Wayne, I’m playing an A-flat on the clavichord I’m sitting beside – I wanted to call the painting <i>A Flat</i>, you see – but now I can see perfectly well that it’s a G. I would play this note when I was sitting for the portrait. I can hear it now.’ (Quoted at <a href=\"https://www.tate.org.uk/tate-etc/issue-36-spring-2016/sitting-hockney\">https://www.tate.org.uk/tate-etc/issue-36-spring-2016/sitting-hockney</a>, accessed 4 February 2020.)</p>\n<p>Sleep was one of the star performers of London’s Royal Ballet and Hockney had been introduced to him in 1967 by Lindy Dufferin (the wife of Sheridan Dufferin, the business partner of Hockney’s dealer Kasmin) and they had become friends. It was Hockney who later introduced Sleep to Lawson, who said of Hockney’s portrayal of the dancer that ‘the pose was interesting. Wayne was looking at me at the keyboard, standing and listening. I think it was a nice conceit that he had a ballet dancer not moving just listening.’ (Quoted in Sykes 2011, p.273.)</p>\n<p>\n<i>George Lawson and Wayne Sleep</i> contains many of the themes that occupied Hockney in tackling the subject of a double portrait, foremost among which are a narrative of friendship and a depiction of a relationship that is often compared to the Annunciation − ‘there is always somebody who looks permanent and somebody who’s a kind of visitor’ (Stangos 1976, p.204). Here Wayne Sleep is the visitor, a role that is underlined by his proximity to both door and window. In this painting, as with many of the other double portraits − a sequence that includes <i>American Collectors (Fred and Marcia Weisman) </i>1968 (Art Institute of Chicago); <i>Christopher Isherwood and Don Bachardy</i> 1968 (private collection); <i>Henry Geldzahler and Christopher Scott</i> 1969 (private collection); <i>Le Parc des sources, Vichy</i> 1970 (private collection); <i>Mr and Mrs Clark and Percy</i> 1970–1 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hockney-mr-and-mrs-clark-and-percy-t01269\" title=\"View the details of this artwork\"><span>T01269</span></a>); <i>Gregory Masurovsky and Shirley Goldfarb</i> 1974 (private collection); <i>My Parents and Myself </i>1975 (destroyed) and <i>My Parents</i> 1977 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hockney-my-parents-t03255\" title=\"View the details of this artwork\"><span>T03255</span></a>) − the sense of the annunciation leads to a separation or distance between the figures that, the historian Marco Livingstone has suggested, lends these portraits psychological charge: ‘the sense of struggle between the impulse to connect with another human being and the need to remain separate … is now treated with greater directness. These observations are achieved through purely pictorial means, both through the gestures of the participants and by means of the formal division of the architectural settings into compartments or separate spaces.’ (Livingstone 1996, p.144.) <i>George Lawson and Wayne Sleep</i> is similarly divided up into two pictorial areas or domains. The main area of the painting is the main room of Lawson’s stark Wigmore Place flat, dominated by the expanse of bare wall that occupies the right half of the painting; Sleep’s domain is the red carpeted room that we see through the doorway, with papers on the floor, and significantly the red carpet extends into Lawson’s domain to run along the edge of the room under the clavichord.</p>\n<p>Hockney spent six months in 1972 on the painting, trying to finish it in time for his exhibition in December at Kasmin’s gallery in London, repainting it many times. His struggle with the painting revolved both around his attitude to naturalism and his use of acrylic paint. Following on from <i>Mr and Mrs Clark and Percy</i>, he was not only painting the figures in a much more naturalistic way than before, he was also concerned to unite the composition and depict the relationship as one framed by the London light that illuminated first Sleep and then Lawson, fading towards the righthand corner of the room. Hockney has described how he constantly felt the need to repaint large areas of the painting:</p>\n<p class=\"cttext\">\n</p><blockquote>all I was doing was painting a wall with the light coming in on the left, so the wall gets darker and darker. I mixed colours for the wall, put them on a palette and walked along going from light to dark, while Mo kept it damp with lots of water sprays; and all the time your one fear is that it will dry and you will have to try and blend the other colour in, while keeping it still wet so you can do the next.<br/>(Quoted in Stangos 1976, p.125.)</blockquote>\n<p>Lawson later recalled the difficulties Hockney faced with the painting:</p>\n<p class=\"cttext\">\n</p><blockquote>David struggled to get the light right, and he said it was one of the hardest things he’d ever had to do – to paint just a blank, sort of distempered wall. He had at one point put copies of the <i>New Temple Shakespeare</i> in as a reference to the painterly convention whereby one shows the profession of the sitter in the objects surrounding them; these were a nod to my profession as a bookseller. There is a rather odd blue blob in the bottom right-hand corner of the canvas now that was originally part of a two-volume box-set of the <i>Oxford English Dictionary</i>, which was in the painting at one stage along with the books. The blue bit of line there is what remains of it. He’s left it in – it’s quite strange, but it feels deliberate.<br/>(George Lawson quoted at <a href=\"https://www.tate.org.uk/tate-etc/issue-36-spring-2016/sitting-hockney\">https://www.tate.org.uk/tate-etc/issue-36-spring-2016/sitting-hockney</a>, accessed 4 February 2020.)</blockquote>\n<p>Hockney also moved the clavichord to his studio so that Lawson could pose for him there and even had a large cut out made of Lawson to help him with the placement of the figure. However, he felt that the painting had defeated him and in the end it was not exhibited; he abandoned the painting in 1973 as unfinished, although he briefly resumed working on it in 1975, before again abandoning it. He later admitted:</p>\n<p class=\"cttext\">\n</p><blockquote>The reason I abandoned it was because of all the problems I began to find in naturalism, and they took me a long time to sort out. In a way, I spent a long time on pictures that I later grew to hate a bit − I was wasting my time there … I found moving away from [naturalism] harder than moving away from anything else.<br/>(Quoted in Peter Webb, <i>Portrait of David Hockney</i>, London 1990, p.206.)</blockquote>\n<p>\n<b>Further reading</b>\n<br/>Nikos Stangos (ed.) <i>David Hockney by David Hockney</i>, London 1976, reproduced p.273.<br/>Marco Livingstone, <i>David Hockney</i>, London 1996, reproduced p.161.<br/>Christopher Simon Sykes, <i>Hockney: The Biography, Volume 1 1937−1975</i>, London 2011.<br/>Wayne Sleep and George Lawson, ‘Sitting for Hockney’, <i>Tate etc.</i>, 11 February 2016, <a href=\"https://www.tate.org.uk/tate-etc/issue-36-spring-2016/sitting-hockney\">https://www.tate.org.uk/tate-etc/issue-36-spring-2016/sitting-hockney</a>, accessed 4 February 2020.</p>\n<p>Andrew Wilson<br/>November 2013, updated February 2020</p>\n</div>\n", "display_name": "Summary", "publication_date": "2020-02-24T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1968", "fc": "Tonico Lemos Auad", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/tonico-lemos-auad-18892" } ]

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[ { "append_role_to_name": false, "date": "1825–1892", "fc": "Thomas Woolner", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/thomas-woolner-2232" } ]

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

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[ { "artistRoomsTour": false, "dateText": "8 June 2007 – 3 February 2008", "endDate": "2008-02-03", "exhibitionLegs": [ { "dateText": "8 June 2007 – 3 February 2008", "endDate": "2008-02-03", "id": 3723, "startDate": "2007-06-08", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 3221, "startDate": "2007-06-08", "title": "Introducing Turner", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "14 August 2009 – 19 July 2010", "endDate": "2010-07-19", "exhibitionLegs": [ { "dateText": "14 August 2009 – 19 July 2010", "endDate": "2010-07-19", "id": 5232, "startDate": "2009-08-14", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 4383, "startDate": "2009-08-14", "title": "Exploring Technique", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "10 September 2014 – 20 September 2015", "endDate": "2015-09-20", "exhibitionLegs": [ { "dateText": "10 September 2014 – 25 January 2015", "endDate": "2015-01-25", "id": 7870, "startDate": "2014-09-10", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 6444, "startDate": "2014-09-10", "title": "Late Turner: Painting Set Free", "type": "Exhibition" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<p>One way to honour greatness during the nineteenth century was to take a plaster cast of the face after death. Turner’s mask is attributed to the Pre-Raphaelite sculptor Thomas Woolner, a great admirer and collector of the older artist’s works. Woolner often used death masks as the basis for portrait busts of his subjects and he probably intended to create a posthumous tribute to Turner. He did the same for a number of other Victorian luminaries, including the writer, Charles Dickens.\n<br/></p>\n", "display_name": "Display caption", "publication_date": "2010-02-18T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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[ { "append_role_to_name": false, "date": "1925–2007", "fc": "Marcos Grigorian", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/marcos-grigorian-18832" } ]

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[ { "archiveItemCount": 1, "id": 184, "level": 1, "name": "abstraction", "parent_id": 1, "workCount": 8614 }, { "archiveItemCount": 346, "id": 69, "level": 3, "name": "astronomy", "parent_id": 60, "workCount": 886 }, { "archiveItemCount": 7, "id": 5876, "level": 3, "name": "creation", "parent_id": 30, "workCount": 22 }, { "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": 227, "level": 3, "name": "gestural", "parent_id": 185, "workCount": 884 }, { "archiveItemCount": 0, "id": 9663, "level": 3, "name": "monochromatic", "parent_id": 185, "workCount": 722 }, { "archiveItemCount": 1, "id": 185, "level": 2, "name": "non-representational", "parent_id": 184, "workCount": 6160 }, { "archiveItemCount": 2, "id": 2542, "level": 3, "name": "planet", "parent_id": 69, "workCount": 21 }, { "archiveItemCount": 54, "id": 8577, "level": 3, "name": "texture", "parent_id": 6729, "workCount": 412 }, { "archiveItemCount": 3955, "id": 30, "level": 2, "name": "universal concepts", "parent_id": 29, "workCount": 2432 } ]

[ { "artistRoomsTour": false, "dateText": "29 May 2021 – 12 September 2021", "endDate": "2021-09-12", "exhibitionLegs": [ { "dateText": "29 May 2021 – 12 September 2021", "endDate": "2021-09-12", "id": 13865, "startDate": "2021-05-29", "venueName": "Victoria and Albert Museum (London, UK)", "venueWebsiteUrl": "http://www.vam.ac.uk" } ], "id": 11453, "startDate": "2021-05-29", "title": "Epic Iran", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Creation of the Planet</i> 1963 is a large, non-figurative work by Marcos Grigorian. Grigorian used a square-format canvas to create a composition of soil, earth and paint that, though abstract, is evocative of a barren, desolate landscape. Focusing on natural materials and processes, the painting incorporates a sculptural quality within the two dimensions of the canvas. The textured surface of the canvas, and Grigorian’s ability to manipulate shapes and forms to create effects of light and shadow by the encrustations of matter, add to the painting’s illusionistic three-dimensionality.</p>\n<p>\n<i>Creation of the Planet </i>is based on the concept of universal cosmogony, in which the Earth and other stellar bodies developed over the course of millions of years out of dust and gas. The spiral mark that begins at the centre of the canvas and expands to its outer boundaries, gestures to this way of thinking. The circular shape and pictorial symmetry of the soil layer represents the unity and continuity of the universe. The monochrome earthy surface creates the impression of a distant aerial view from space, a primordial phase in the creation of the galaxy that signalled the beginning of all life forms.</p>\n<p>The innovative use of soil combined with pigment <i>in</i> <i>Creation of the Planet</i> – which predates by a decade other experiments in what was later termed ‘land art’ – produces an inherent dimensionality that expands any notion and preconceived ideas about painting as a medium. The square canvas became synonymous with Grigorian’s work, which aimed to portray the power of geometrical shapes and the beauty and harmony of natural proportions. Grigorian also used the square format as a framing device to contain the space itself and concentrate the expansiveness of his theme into a measured unit based on the grid, thus associating it with notions of stability, controlled movement and containment. The simplicity and familiarity of the square form, its geometric associations and iconographic symbolism, deconstruct its boundaries beyond the sensible and the intelligible. The viewer is exposed not only to the vision of a process but also to the result of this process, the ‘creation of the planet’. A play between concept and process and the interplay of space and terrain, from the cosmic to the natural, <i>Creation of the Planet</i> functions as a pictorial meditative arena, a zooming in and out on the everyday and the universal.</p>\n<p>At the same time the painting expressed a direct connection to the artist’s personal experience and history of leaving his native Iran to live first in Europe and then in America. He later explained: ‘Perhaps I was homesick for the native soil of Iran, or maybe it was just the opposite – a reaction to being obsessed with my past’ (quoted in Grigorian and Stein 1989, p.10). Painted in New York as part of Grigorian’s <i>Earthworks </i>series, <i>Creation of the Planet</i> explores the complex relationship between being and belonging.</p>\n<p>\n<b>Further reading</b>\n<br/>Marcos Grigorian and Donna Stein (eds.), <i>Marcos Grigorian: Earthworks</i>, exhibition catalogue, Gorky Gallery, New York 1989.</p>\n<p>Vassilis Oikonomopoulos<br/>July 2013</p>\n</div>\n", "display_name": "Summary", "publication_date": "2016-06-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is part of Grigorian’s <i>Earthworks</i> Series. He was inspired by natural processes, and explored materials like oil, soil, straw and wood, always within a square format. The encrusted surface of this work gives the sense of a distant aerial view of earth. Grigorian began working on the series in 1962, the year he moved from Tehran to New York. He explained: ‘Perhaps I was homesick for the native soil of Iran, or maybe it was just the opposite – a reaction to being obsessed with my past’.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2020-06-01T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "abstraction", "astronomy", "creation", "emotions, concepts and ideas", "formal qualities", "gestural", "monochromatic", "non-representational", "planet", "texture", "universal concepts" ]

[ { "append_role_to_name": false, "date": "born 1957", "fc": "Sir John Akomfrah CBE", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/sir-john-akomfrah-cbe-9259" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>The Unfinished Conversation</i> 2012 is a three-screen video installation that explores the multi-layered and ever-evolving subject of identity through an exploration of the memories and archives of the acclaimed British cultural theorist and sociologist Stuart Hall (1932–2014). The film is narrated in a non-linear format and unfolds over three screens, bringing up a variety of disparate footage simultaneously. This process examines the nature of the visual as triggered across an individual’s memory. Extracted images from news footage of the 1960s, alongside Hall’s personal home videos and photographs, are presented to merge the past, present and future. Akomfrah weaves issues of cultural identity into the film using a wide range of reference, overlaying archive footage of Hall with a soundtrack made up of jazz and gospel music and readings from a wide range of authors, including William Blake, Charles Dickens, Virginia Woolf and Mervyn Peake.</p>\n<p>In the footage used in <i>Unfinished Conversation</i> Hall discusses his discovery of his personal and ethnic identity. Born in Kingston, Jamaica into a middle class family where he was the ‘darkest’ member, he quickly found that this had an immense effect on his upbringing in Jamaica. He arrived in Britain as a young man in 1951, graduated from Oxford University and went on to become one of the founding figures of British Cultural Studies and a strong voice on the journal <i>New Left Review</i>, alongside other intellectuals such as E.P. Thompson and Raymond Williams. Hall’s arrival in Britain in the early 1950s was only shortly after the ‘Windrush generation’, whose arrival on board the SS Empire Windrush in 1948 marked the start of post-war mass migration from the Caribbean to England. Hall married an English woman and, in 1968, defined himself for the first time not as West Indian (he is of mixed Portuguese-Jewish, African and English descent) but as ‘black’ – a political identity that frames his evolving idea of multiculturalism. Akomfrah’s film, which only focuses on Hall’s formative years of the 1950s and 1960s, also encompasses wider international political changes, for example the Soviet invasion of Hungary, the Vietnam war and the riots in Britain. Akomfrah’s use of different footage and multiple screens also portrays how identity is formed as part of a collision of history, culture and politics. Identity is presented as a conjunction of the outside and the inside, where individual subjectivities are formed in both real and fictive spaces. </p>\n<p>The title of the work refers to Hall’s exposition of identity. According to Hall, identity is not an essence or being, but instead a becoming that is part of an ‘ever-unfinished conversation’. The exploration of Hall’s memory is used with a variety of images intermingling with poetic soundscapes. Akomfrah has credited the immense influence Stuart Hall has had on his practice, particularly during the time of the artist’s involvement with the Black Audio Film Collective (BAFC, 1982–98), of which he was a founder member. When BAFC’s film <i>Handsworth Songs </i>1986 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/black-audio-film-collective-handsworth-songs-t12862\" title=\"View the details of this artwork\"><span>T12862</span></a>) was attacked by the writer Salman Rushdie in a review in the <i>Guardian</i> in 1987, Hall was a strong advocate for the group. <i>The Unfinished Conversation</i> was made over a period of three and a half years during which time Akomfrah worked closely with Hall. </p>\n<p>The three-screen video installation has been shown in a variety of significant Biennials and exhibitions including the Sharjah Biennial, Taipei Biennial and Liverpool Biennial, all in 2012, and at New Art Exchange, Nottingham and Tate Britain, London in 2013. The film has also been edited for a single-screen theatre presentation entitled <i>The Stuart Hall Project </i>(95 minutes), which was nominated for the <i>Grand Jury Prize</i> at Sundance Film Festival in January 2013. The installation exists in an edition of five, of which Tate’s copy is number one.</p>\n<p>\n<b>Further reading</b>\n<br/>Kodwo Eshun and Anjalika Sagar (eds.),<i> Ghost of Songs: The Film Art of the Black Audio Film Collective</i>, Liverpool 2007.<br/>\n<i>New Art Exchange: John Akomfrah in Conversation</i>, film, May 2013, <a href=\"http://www.youtube.com/watch?v=h6g6WyJ99Bw\">http://www.youtube.com/watch?v=h6g6WyJ99Bw</a>, accessed November 2013. </p>\n<p>Leyla Fakhr<br/>November 2013</p>\n</div>\n", "display_name": "Summary", "publication_date": "2020-02-24T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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

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

[ "abstraction", "architecture", "domestic", "door", "features", "from recognisable sources", "interior - non-specific", "interiors", "man-made", "monochromatic", "non-representational" ]

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

[ "abstraction", "architecture", "domestic", "door", "features", "from recognisable sources", "interior - non-specific", "interiors", "man-made", "wall" ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Hamilton is interested in the resolution of the contradictory dynamic between two and three dimensions. Her sculpture use various strategies such as poster-prints applied to blinds, advertising hoardings, plywood props, and kimonos. <i>Wrestler Kimono </i>is suspended from a steel and wooden structure. Hung in this way, the kimono references the body yet has none of its volume and is rendered two-dimensional. This work draws on Japanese Kabuki theatre of the Edo period, where red and white checks represented the wrestler: the stronger the checks, the stronger the wrestler.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2016-09-06T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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[ { "artistRoomsTour": false, "dateText": "21 July 2012 – 7 July 2013", "endDate": "2013-07-07", "exhibitionLegs": [ { "dateText": "21 July 2012 – 7 July 2013", "endDate": "2013-07-07", "id": 7049, "startDate": "2012-07-21", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 5754, "startDate": "2012-07-21", "title": "Dia al-Azzawi and Leon Golub", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "3 April 2015 – 12 July 2015", "endDate": "2015-07-12", "exhibitionLegs": [ { "dateText": "3 April 2015 – 12 July 2015", "endDate": "2015-07-12", "id": 7978, "startDate": "2015-04-03", "venueName": "Deichtorhallen Hamburg (Hamburg, Germany)", "venueWebsiteUrl": null } ], "id": 6540, "startDate": "2015-04-03", "title": "Post-Picasso. Contemporary Art and Picasso", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "15 October 2016 – 16 April 2017", "endDate": "2017-04-16", "exhibitionLegs": [ { "dateText": "15 October 2016 – 16 April 2017", "endDate": "2017-04-16", "id": 10679, "startDate": "2016-10-15", "venueName": "Al Riwaq Exhibition Hall (Doha, Qatar)", "venueWebsiteUrl": null }, { "dateText": "15 October 2016 – 16 April 2017", "endDate": "2017-04-16", "id": 10672, "startDate": "2016-10-15", "venueName": "Mathaf: Arab Museum of Modern Art (Doha, Qatar)", "venueWebsiteUrl": null } ], "id": 8816, "startDate": "2016-10-15", "title": "Dia Azzawi", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Sabra and Shatila Massacre </i>1982–3 is a monumental work in ball point pen and pencil on paper, constructed in six sections and affixed to canvas for support. The work was made in response to the massacre by Christian Lebanese Phalangists of Palestinian refugees in the camps in Beirut, Lebanon, between 16 and 18 September 1982, while the camps were under the guard of the Israeli Defence Force. Working from imagination, al-Azzawi has delineated the scenes of chaos and horror in the Sabra and Shatila camps in a semi-abstract style, with a shallow perspective.</p>\n<p>Speaking with Tate curator Jessica Morgan on 27 April 2011, the artist explained that his decision to depict the scenes of the massacre was inspired by reading the essay <i>Quatre Heures à Chatila</i> (Four Hours in Shatila) by French writer Jean Genet (1910–1986). Genet was in Beirut when the massacres took place and was one of the first observers to enter the camps thereafter. He wrote: ‘A photograph doesn’t show the flies nor the thick white smell of death. Neither does it show how you must jump over the bodies as you walk along from one corpse to the next … A barbaric party had taken place there.’ (Jean Genet, ‘Quatre heures à Chatila’, <i>Revue d’études palestiniennes</i>, vol.6, Winter 1983, pp.3–19.) Al-Azzawi explained that the drawing was made in his home in Highgate, London, over a number of months, during which time he worked solely on this project. Stylistically it owes a debt to Pablo Picasso’s <i>Guernica</i> 1937 (Museo Reina Sofia, Madrid), although al-Azzawi’s drawing is considerably more claustrophobic; the vast expanse of paper offers no respite from the horror of the scene, being densely packed with body parts, architectural and domestic details, images of animals and bombs.</p>\n<p>Markedly different to al-Azzawi’s normally colourful paintings and relief sculptures from this time, the use of mainly black and grey tones in <i>Sabra and Shatila Massacre </i>is interrupted by moments of colour used to depict the earthy tones of the ground or the red of blood. This restrained use of colour makes its appearance all the more jarring in the massive expanse of the drawing. The style of this work relates more closely to the print and book illustrations by the artist, practices that have consistently been major parts of his output. In 1976 al-Azzawi made a series of drawings for a book about the destruction and loss of life at the Tel al-Zaatar Palestinian refugee camp in that year, similarly calling on literature to mediate the violence of the event. On his use of literature, and in particular poetry, as a catalyst for his work al-Azzawi has said: ‘The poem is very important. It gives the artist a great deal in terms of atmosphere. I wanted to paint the tragedy of Tel al-Zaatar. I started, but later I turned to the poems, they gave me the inspiration I needed.’ (Quoted in <a href=\"http://www.azzawiart.com/essays_by_dia.php?id=4\">http://www.azzawiart.com/essays_by_dia.php?id=4</a>, accessed 1 August 2011.) Al-Azzawi has also produced illustrations to accompany collections of Arab poetry (‘Hymne de corps’ 1979, for example), that share the same stark visual language and predominant use of black and grey tones as <i>Sabra and Shatila Massacre</i>. Al-Azzawi’s work has consistently addresed the political events of the Middle East and previous series of works have included over forty gouaches from the 1970s reflecting on his military service fighting the Kurds. <i>Sabra and Shatila Massacre</i> represents the most significant and monumental attempt by the artist to address the turmoil in the region.</p>\n<p>Dia al-Azzawi was born in 1939 in Baghdad, Iraq. He is considered one of Iraq’s most influential living artists and a leading figure for the emergence of modern painting and printmaking in the country. In 1969 he wrote and published the manifesto ‘Towards the New Vision’, outlining the ambitions of himself and his contemporaries who were incorporating a semi-abstract language in works that drew on a Sumerian, Syrian and Islamic heritage. In the early 1970s, with Shaker Hassan a-Said (1925–2004) and Rafa al-Nasiri (born 1940), he established what became known as the One Dimension group which promoted the idea of an Iraqi or Arab identity through art and the use of calligraphy in modern painting.</p>\n<p>Due to the scale of <i>Sabra and Shatila Massacre</i>, it has rarely been exhibited, aside from three years between 1983 and 1986 when it was on display at the National Council for Art and Culture, Kuwait. Given its significance in al-Azzawi’s work, however, it has been widely reproduced in catalogues devoted to his work and modern Arab art.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Dia Azzawi</i>, exhibition catalogue, Institut du monde arabe, Paris 2001, reproduced p.82.<br/>Nada Shabout, <i>Modern Arab Art: Foundation of Arab Aesthetics</i>, Gainesville 2007.<br/>Saeb Eigner, <i>The Art of the Middle East: Modern and Contemporary Art of the Arab World and Iran</i>, London and New York 2010, pp.130–1, reproduced.</p>\n<p>Jessica Morgan<br/>August 2011</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-06-25T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This work was made in response to the massacre of civilians at the Sabra and Shatila refugee camps in Beirut, Lebanon in September 1982. Those killed were mostly Palestinian. The violence was carried out by a militia associated with a Christian Lebanese right-wing party. The camps were under the guard of the Israeli Defence Force. Al-Azzawi worked on the drawings over several months, creating no other work. In its subject matter and scale, the work is related to Pablo Picasso’s <i>Guernica </i>1937, a large painting that brought attention to the violence of the Spanish Civil War (1936–9).</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2019-08-27T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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[ { "append_role_to_name": false, "date": "born 1977", "fc": "Conrad Shawcross", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/conrad-shawcross-16836" } ]

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[ { "artistRoomsTour": false, "dateText": "28 September 2012 – 14 October 2012", "endDate": "2012-10-14", "exhibitionLegs": [ { "dateText": "28 September 2012 – 14 October 2012", "endDate": "2012-10-14", "id": 7598, "startDate": "2012-09-28", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 6216, "startDate": "2012-09-28", "title": "The Mercedes and Ian Stoutzker Gift to Tate", "type": "Collection based display" } ]

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[ { "append_role_to_name": false, "date": "born 1957", "fc": "Sheela Gowda", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/sheela-gowda-18148" } ]

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[ { "artistRoomsTour": false, "dateText": "11 January 2016 – 17 June 2018", "endDate": "2018-06-17", "exhibitionLegs": [ { "dateText": "11 January 2016 – 17 June 2018", "endDate": "2018-06-17", "id": 10142, "startDate": "2016-01-11", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 8366, "startDate": "2016-01-11", "title": "Sheela Gowda", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "30 March 2020 – 18 October 2020", "endDate": "2020-10-18", "exhibitionLegs": [ { "dateText": "30 March 2020 – 18 October 2020", "endDate": "2020-10-18", "id": 13442, "startDate": "2020-03-30", "venueName": "Stadtische Galerie im Lenbachhaus (Munich, Germany)", "venueWebsiteUrl": null } ], "id": 11076, "startDate": "2020-03-30", "title": "Sheela Gowda", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Behold</i> 2009 is an immersive large-scale installation by the South Indian artist Sheela Gowda. This work consists of four kilometres of hand knotted rope and approximately twenty car bumpers. The bumpers are suspended against the gallery wall, individually or in sets, from ropes made of braided human hair, which are knotted around the metal. The ropes extend irregularly between the hanging bumpers in small and large loops, as well as being gathered on the floor in piles and heaps, some of which can also be suspended from the ceiling. In this way the installation can take over a single gallery space or occupy a single stretch of wall.</p>\n<p>In Karnataka, where Gowda lives, the hair and car bumpers used in <i>Behold </i>are everyday materials with ritual significance. Short strands of human hair are commonly knotted around the bumpers of vehicles to ward off accidents and bad luck. The curator Trevor Smith has argued that these talismans gesture to human vulnerability, especially in relation to the hard steel of a car, as well as the potential of these organic fragments to summon protection or care. Trevor writes that the entanglement of hair and steel in <i>Behold</i> stages ‘a precarious <i>pas de deux</i>, inverting the conventional casting of the human body as the fragile partner to its metal machine cohort’ (Smith 2009, accessed 21 April 2013). Gowda commented in 2009 that the pairing of these materials is ‘a coming together of fear, superstition, belief and a need for comforting action in the framework of modern life’ (quoted in Smith 2009, accessed 21 April 2013).</p>\n<p>Just as Gowda’s work references human beliefs and superstitions, it also relates to emerging economic systems in India. The steel bumpers, for instance, highlight the massive increase in popularity and accessibility of vehicles in Indian cities, a new car being an important indication of success in the expanding aspirational economy. Likewise, hair has an industry of its own: it is ritually shorn as a mark of humility and sacrifice when pilgrims fulfil sacred vows and donate to local temples, where it is then woven in talismans or sold by the priests for profit. Longer swathes of fine, untreated dark Indian hair are in high demand for wigs and hairpieces or for keratin used in beauty products, particularly in the West. As Smith notes, Gowda unweaves the short strands from the talismans, braiding it into the longer ropes that bear resemblance to the hair sold on the open market (Smith 2009, accessed 21 April 2013). With these hair-ropes she reconnects and entangles the ritual and secular economy, as well as mass produced and handmade objects. The tension between the different materials in <i>Behold</i> is evident in Gowda’s other works such as <i>And Tell Him of My Pain</i> 1998 (Walker Art Center, Minneapolis) in which she combines a length of one hundred needles with the red pigment kumkum.</p>\n<p>In <i>Behold</i>, the shiny, clean metal forms of the bumpers stand out in relation to the dark, natural, organic material from which they are hung. The black ropes of hair are coiled into spherical and linear forms, veering between the abstract and the anthropomorphic. The linear quality of the ropes has a visual affinity to abstract drawing, but hints of the body are suggested in the formal arrangement of the work, including spheres that are reminiscent of heads, and loosely hanging loops resembling entrails. The tension between narrative and abstraction, as well as effort and restraint, characterises much of Gowda’s practice. The labour intensive nature of making, through braiding, knotting and coiling the hair, is evident in <i>Behold </i>and is a key aspect of Gowda’s process-driven practice and intuitive relationship with her materials. She has said, ‘I want the material to speak. At the same time it has to serve my purpose, I need to control it, to subvert it. Most of my works are labour intensive, but I do not like to make the process immediately apparent … I feel it adds to the intensity of the work while remaining seemingly simple and minimal.’ (Gowda in Bose Pacia Gallery 2007, p.145.)</p>\n<p>Gowda trained at the Kala Bhavan School of Fine Arts at Santiniketan under K.G. Subramanyan and credits that experience for expanding her understanding of ‘the fundamentals of perception; the ways of seeing and how you read the formal elements in art through the ages as well as in traditional arts and craft’ (Gowda in Bose Pacia Gallery 2007, p.144). Gowda began her career as a figurative painter and moved towards sculpture in the 1990s as her interest in using indigenous and locally relevant materials grew. She exhibited <i>Behold</i> at the Singapore Biennale in 2011 and the Venice Biennale in 2009 and had a solo exhibition in London at Iniva (Institute of International Visual Arts) in 2010.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Sheela Gowda</i>, exhibition catalogue, Bose Pacia Gallery, Göttingen 2007, pp.144–5.<br/>Trevor Smith, ‘The Specific Labour of Sheela Gowda’, <i>Afterall</i>, no.22, Autumn/Winter 2009, <a href=\"http://www.afterall.org/journal/issue.22/the.specific.labour.of.sheela.gowda\">http://www.afterall.org/journal/issue.22/the.specific.labour.of.sheela.gowda</a>, accessed 21 April 2013.<br/>Jessica Morgan, ‘Sheela Gowda: In Focus’, <i>Artforum</i>, May 2013, pp.190–2.</p>\n<p>Nada Raza<br/>April 2013</p>\n</div>\n", "display_name": "Summary", "publication_date": "2016-06-14T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "artistRoomsTour": false, "dateText": "6 March 2015 – 14 February 2016", "endDate": "2016-02-14", "exhibitionLegs": [ { "dateText": "6 March 2015 – 31 May 2015", "endDate": "2015-05-31", "id": 8956, "startDate": "2015-03-06", "venueName": "Tate Liverpool (Liverpool, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/liverpool/" }, { "dateText": "3 July 2015 – 4 October 2015", "endDate": "2015-10-04", "id": 8957, "startDate": "2015-07-03", "venueName": "Lentos Kunstmuseum Linz (Linz, Austria)", "venueWebsiteUrl": "http://www.lentos.at/en/" }, { "dateText": "8 November 2015 – 14 February 2016", "endDate": "2016-02-14", "id": 9416, "startDate": "2015-11-08", "venueName": "Städtisches Museum Abteiberg (Mönchengladbach, Germany)", "venueWebsiteUrl": null } ], "id": 7346, "startDate": "2015-03-06", "title": "Cathy Wilkes", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "6 March 2015 – 14 February 2016", "endDate": "2016-02-14", "exhibitionLegs": [ { "dateText": "6 March 2015 – 31 May 2015", "endDate": "2015-05-31", "id": 9473, "startDate": "2015-03-06", "venueName": "Tate Liverpool (Liverpool, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/liverpool/" }, { "dateText": "2 July 2015 – 4 October 2015", "endDate": "2015-10-04", "id": 9474, "startDate": "2015-07-02", "venueName": "Lentos Kunstmuseum Linz (Linz, Austria)", "venueWebsiteUrl": "http://www.lentos.at/en/" }, { "dateText": "8 November 2015 – 14 February 2016", "endDate": "2016-02-14", "id": 9475, "startDate": "2015-11-08", "venueName": "Städtisches Museum Abteiberg (Mönchengladbach, Germany)", "venueWebsiteUrl": null } ], "id": 7779, "startDate": "2015-03-06", "title": "Cathy Wilkes", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "30 June 2016 – 13 December 2016", "endDate": "2016-12-13", "exhibitionLegs": [ { "dateText": "4 July 2016 – 13 December 2016", "endDate": "2016-12-13", "id": 10494, "startDate": "2016-07-04", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 8654, "startDate": "2016-06-30", "title": "Cathy Wilkes", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "22 October 2017 – 11 March 2018", "endDate": "2018-03-11", "exhibitionLegs": [ { "dateText": "22 October 2017 – 11 March 2018", "endDate": "2018-03-11", "id": 11782, "startDate": "2017-10-22", "venueName": "MoMA PS1 (New York, USA)", "venueWebsiteUrl": null } ], "id": 9730, "startDate": "2017-10-22", "title": "Cathy Wilkes", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "6 October 2023 – 7 January 2024", "endDate": "2024-01-07", "exhibitionLegs": [ { "dateText": "6 October 2023 – 7 January 2024", "endDate": "2024-01-07", "id": 15338, "startDate": "2023-10-06", "venueName": "Fitzwilliam Museum (Cambridge, UK)", "venueWebsiteUrl": "http://www.fitzmuseum.cam.ac.uk" } ], "id": 12593, "startDate": "2023-10-06", "title": "Real Families", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Untitled (Possil, At Last)</i> 2013 is a multi-part installation by the Northern Irish artist Cathy Wilkes, first exhibited in <i>The Encyclopedic Palace</i> at the Venice Biennale in 2013. It incorporates five handmade mannequin-type figures dressed in nineteenth-century fabrics, positioned alongside other historic materials arranged on the ground. These include assorted items of furniture, textiles and comics, as well as artefacts drawn from Possil Pottery in North Glasgow, excavated in 2010 – bits of jugs, old kilns, bottles and other fragments. The mannequins include four child-like figures of indeterminate gender, standing around an adult male who crouches over a bottle. Of the four younger figures, two are infants wearing simple cloth who stand behind the adult; of the two larger children, one wears a bonnet and purple-striped cloth reminiscent of a shepherd, and the other wears a spotted brown dress made of a finer material and reads a comic that is lying on the floor. Although the figures are largely blank and expressionless, they carry subtle character in their poses and the irregularities of the surface of their ‘skin’, which has been moulded by hand. ‘Possil’ is written in black ink on the side of an open cardboard parcel covered in tape; the plaintive words ‘At Last’ can be found carved in a childlike script onto an old wooden tray and are also repeated on a scrap of fabric that lies on the floor among the other objects arranged there. The space is delineated by two lengths of hanging fabric. </p>\n<p>Possil Pottery, from which the work takes part of its title, was one of the few industries established in Possilpark, a long-deprived area in the north of Glasgow known for its high crime rates and tenement housing. The installation’s imaginary environment, with its broken fragments and eerie white figures, recalls a poetic vision, but the historical content of the work makes it a place of loss and of death. The presence of an apparently downcast adult along with children of varying ages perhaps implies the extension of this loss over multiple generations, in cyclical continuation. In an accompanying text, Wilkes suggests her installation evokes a nearness to death, a proximity that can be recognised by the viewer through what she explains as ‘a mystical relationship to objects’ (Wilkes 2013, accessed 29 August 2018). In the same text, Wilkes writes that ‘the work is a process of open concentration and waiting, and an attention to every part of a totality. The figures show frailty, compassion, emotion, their sensations. They also show the difficulty and pain of conceiving something outside my body and mind, the pain of formalism.’ (Wilkes 2013, accessed 29 August 2018.) </p>\n<p>Cathy Wilkes has developed a sculptural vocabulary in which commonplace objects and materials are combined in minimal yet highly charged assemblages that often touch on issues of femininity and sexuality. While each element is chosen by her for its subjective significance, the work characteristically appears as a constellation of objects, as fragments in a complex web of relationships. Wilkes’s installations resist easy reading or breaking down into decipherable parts. Rather they function as suggestive thought provocations, in which personal experience is inseparable from the process of construction. Often the readymade materials for her installations are drawn from her own life, and so the archaeological finds and historical fragments included in <i>Untitled (Possil, At Last) </i>represent something of an exception in her practice. </p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Cathy Wilkes</i>, exhibition catalogue, Carnegie Museum of Art, Pittsburgh 2011.<br/>Cathy Wilkes, ‘The Encyclopaedic Palace’, <i>The Modern Institute</i>,<i> </i>2013, <a href=\"https://www.themoderninstitute.com/artists/cathy-wilkes/exhibitions/the-encyclopedic-palace-venice-biennale-venice-2013-06-01/4653\">https://www.themoderninstitute.com/artists/cathy-wilkes/exhibitions/the-encyclopedic-palace-venice-biennale-venice-2013-06-01/4653</a>, accessed 29 August 2018.</p>\n<p>Arthur Goodwin<br/>September 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-01-16T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[]

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[ { "artistRoomsTour": false, "dateText": "7 February 2022 – 25 September 2022", "endDate": "2022-09-25", "exhibitionLegs": [ { "dateText": "7 February 2022 – 25 September 2022", "endDate": "2022-09-25", "id": 14766, "startDate": "2022-02-07", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 12143, "startDate": "2022-02-07", "title": "Isabel Rawsthorne and Alberto Giacometti: A Conversation", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Male Baboon c.1964 is an oil painting on canvas by the British artist Isabel Rawsthorne (also known as Isabel Lambert). It depicts the dun-coloured ape in profile; his face appears to be simultaneously seen from the side and turned around to regard the viewer. The word ‘baboon’ is scratched into the paint in the foreground of the work. The hunched form of the animal suggests a state of embattlement and lines in the background indicate that he may be caged. The baboon’s form is created by texture as much as by colour and contour, and the thick paint layers form a low relief. The painting can be considered a pair with the contemporaneous Baboon and Child c.1964 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/rawsthorne-baboon-and-child-t14121\" title=\"View the details of this artwork\"><span>T14121</span></a>) which represented a female ape and her offspring.</i>\n</p>\n<p>\n<i>The compositions of both paintings have their source in drawings that the artist made in London Zoo. She had drawn there from childhood and was elected Zoological Society of London Fellow in 1947. She also made drawings of baboons in Nigeria in 1961. In addition to direct observation of the animals themselves, a number of scientific and artistic sources inspired Rawsthorne. She studied scientific and ethnographic texts such as those of the twentieth-century Austrian zoologist and ornithologist Konrad Lorenz. Rawsthorne was a close associate of the British painter Francis Bacon (1909–1992) who had made studies of apes in the 1950s, which were also based on the studies of animal behaviour of Konrad Lorenz and the American psychologist and primatologist Robert Yerkes (see Jacobi 2009, p.306). In Bacon’s Study of a Baboon 1953 (Museum of Modern Art, New York), the thinly applied and blurred paintwork, through which the background can be seen, suggests both movement and an implicit violence, and the ambiguous placement of the fence allowed the artist to investigate the tension between freedom and incarceration in caged animals. Although Bacon’s and Rawsthorne’s application of paint is very different, the blurring of form to suggest both movement and mood, and the exploration of the dynamic of the cage, express similar concerns. Both Rawsthorne’s and Bacon’s monkey paintings draw on the works of the French sociologist and theorist George Bataille to explore parallels between man and animal, evoking a simultaneous aggression and vulnerability in the human condition that suggests an existential isolation. </i>\n</p>\n<p>\n<i>As well reflecting her recent experiences in London and Paris, the painting technique that Rawsthorne used in these works has its origins in the artist’s exposure to Nigerian art of the 1960s. She attended the Zaria Art School, Nigeria in 1961, and her adoption of a looser painting technique dates from this period where she studied with Clifford Frith (born 1924) alongside the founders of the Natural Synthesis movement, such as Demas Nwoko (born 1935). The Lion c.1961 (reproduced in </i>Suzanne Doyle, <i>Isabel Rawsthorne</i> <i>1912–1992 Paintings, Drawings and Designs</i>, exhibition catalogue, Mercer Art Gallery, Harrogate 1997, plate 17, pp.24, 43) demonstrates changes in her technique at this time in its use of heavy impasto to suggest the animal form, which is similar to that used in <i>Male Baboon and Baboon and Child.</i>\n</p>\n<p>\n<b>Further reading</b>\n<br/>\n<b>Carol Jacobi, ‘Cat’s Cradle: Bacon and the Art of “Isabel Rawsthorne”’, </b><b>Visual Culture in Britain</b><b> (Special Bacon Issue), vol.10, no.3, 2009, pp.293–314, reproduced p.307. </b>\n<br/>Carol Jacobi,<i> Out of the Cage: The Art of Isabel Rawsthorne</i>, New Haven and London 2014. </p>\n<p>Carol Jacobi and Emma Chambers<br/>October 2013</p>\n</div>\n", "display_name": "Summary", "publication_date": "2020-02-24T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "animals: mammals", "baboon", "emotions, concepts and ideas", "formal qualities", "gestural" ]

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