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[ { "append_role_to_name": false, "date": "1891–1939", "fc": "Mark Gertler", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/mark-gertler-1156" } ]

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[]

[ { "archiveItemCount": 413, "id": 177, "level": 2, "name": "actions: expressive", "parent_id": 91, "workCount": 2209 }, { "archiveItemCount": 0, "id": 95, "level": 2, "name": "adults", "parent_id": 91, "workCount": 20120 }, { "archiveItemCount": 1628, "id": 93, "level": 2, "name": "body", "parent_id": 91, "workCount": 3250 }, { "archiveItemCount": 351, "id": 286, "level": 2, "name": "food and drink", "parent_id": 78, "workCount": 629 }, { "archiveItemCount": 21, "id": 1037, "level": 3, "name": "fruit, apple", "parent_id": 286, "workCount": 64 }, { "archiveItemCount": 0, "id": 38209, "level": 3, "name": "Gertler, Harry", "parent_id": 102, "workCount": 1 }, { "archiveItemCount": 625, "id": 615, "level": 3, "name": "head / face", "parent_id": 93, "workCount": 1872 }, { "archiveItemCount": 450, "id": 20118, "level": 3, "name": "individuals: male", "parent_id": 20114, "workCount": 1391 }, { "archiveItemCount": 1455, "id": 195, "level": 3, "name": "man", "parent_id": 95, "workCount": 8998 }, { "archiveItemCount": 9734, "id": 102, "level": 2, "name": "named individuals", "parent_id": 91, "workCount": 3153 }, { "archiveItemCount": 9924, "id": 78, "level": 1, "name": "objects", "parent_id": 1, "workCount": 13647 }, { "archiveItemCount": 0, "id": 91, "level": 1, "name": "people", "parent_id": 1, "workCount": 22072 }, { "archiveItemCount": 1490, "id": 20114, "level": 2, "name": "portraits", "parent_id": 91, "workCount": 3001 }, { "archiveItemCount": 70, "id": 2155, "level": 3, "name": "smiling", "parent_id": 177, "workCount": 221 } ]

[ { "artistRoomsTour": false, "dateText": "12 February 2018 – 21 October 2018", "endDate": "2018-10-21", "exhibitionLegs": [ { "dateText": "12 February 2018 – 21 October 2018", "endDate": "2018-10-21", "id": 11712, "startDate": "2018-02-12", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 9670, "startDate": "2018-02-12", "title": "Mark Gertler", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "31 October 2022", "endDate": null, "exhibitionLegs": [ { "dateText": "31 October 2022", "endDate": null, "id": 13428, "startDate": "2022-10-31", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 11062, "startDate": "2022-10-31", "title": "Gallery 4", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This painting depicts Mark Gertler’s elder brother Harry in a head and shoulders format, holding an apple in his right hand. The sitter’s body is turned to the left and his right shoulder is raised while his head is shown full-face and his eyes directly engage the viewer. He holds the apple lightly between his thumb and third finger as if showing it to the viewer or offering it to an unseen companion outside the picture plane. The work is painted in vibrant contrasting colours; the light blue of the background and deep blue of the sitter’s clothing contrast with the deep red of his lips and the warm orange and red tones of the apple. The work was begun in tempera on panel and completed in oil paint. Gertler’s interest in tempera as a medium was shared by other artists in the early twentieth century who were interested in both the techniques and the formal simplifications of early Italian painters of the fourteenth century such as Giotto, then described as the ‘Italian primitives’; between 1910 and 1912 Gertler was a member of the short-lived group the ‘Neo-primitives’, together with fellow Slade students C.R.W. Nevinson, Edward Wadsworth, Adrian Allison and John Currie. These early Italian influences are also seen in the plain blue background of <i>The Artist’s Brother Harry Holding an Apple</i>. Gertler experimented with tempera and ‘neo-primitive’ composition and colour in other portraits of this period, such as <i>Portrait of a Girl Wearing a Blue Jersey</i> 1912 (formerly Edgar Astaire Collection). Interviewed in the<i> Jewish Chronicle</i> in 1912, Gertler expressed his admiration for the work of Piero della Francesca and Giovanni Bellini and stated that, ‘One should never forget the primary function of art – the music and rhythm of colour. Characterisation and psychology, all important in the novel, are quite of secondary importance in the picture’ (quoted in ‘A Triumph of Education Aid’, <i>Jewish Chronicle</i>, 9 February 1912, p.22). In this portrait of his brother,<i> </i>the sitter’s deliberately theatrical, non-naturalistic pose and the vibrant opposing colours in the work both reflect these ideas.</p>\n<p>Gertler was also influenced by contemporary art and admired the work of Augustus John (1878–1961). John’s portrait studies on panel of his family of around 1909–11 encouraged Gertler to abandon his formerly low-toned palette for brighter colour and, from 1912, adopt a more fluid handling of paint in works such as <i>Portrait of a Girl</i> 1912 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/gertler-portrait-of-a-girl-n03807\" title=\"View the details of this artwork\"><span>N03807</span></a>). By the time he painted <i>The Artist’s Brother Harry Holding an Apple </i>in 1913, he had also absorbed the work of post-impressionist artists and in later life he recalled the impact of Cézanne, Gauguin and Matisse on his work of this period (see<i> Studio</i>, vol.104, 1932, p.163, quoted in MacDougall 2012, p.9). In a series of portraits made between 1913 and 1914 he intensified his palette further, using bright, contrasting primary colours and simplified the facial features and bodies of his sitters into a series of angular planes and forms. This is most clearly seen in this portrait in the triangular forms of the sitter’s eyebrows, hairline and neckline and the straight line of his neck from shoulder to ear.</p>\n<p>\n<i>The Artist’s Brother Harry Holding an Apple </i>is closely related to Gertler’s painting <i>Family Group</i> 1913 (Southampton City Art Gallery), where Harry is shown in the same pose holding an apple, but full-length and accompanied by his wife who is wearing a red dress and peasant headscarf and holding their child. Between 1913 and 1914 Gertler made a series of portraits of his family in peasant dress that drew on folk art traditions, including <i>Jewish Family</i> 1913 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/gertler-jewish-family-n06231\" title=\"View the details of this artwork\"><span>N06231</span></a>). Critics recognised the conscious archaism in Gertler’s treatment of the figure and when <i>Jewish Family</i> was exhibited in 1914 the seated figure of the old man, whose facial features are simplified in a similar manner to those in this portrait, was described by one newspaper critic as ‘as monstrously grotesque as a gargoyle or some of the figures in medieval woodcarvings’ (<i>Star</i>, 20 May 1914, quoted in Juliet Steyn, ‘Mythical Edges of Assimilation: An Essay on the Early Works of Mark Gertler’, in Camden Arts Centre 1992, pp.17–18). While the use of family members as models was partly a practical step to save money, this group of works can also be seen as a way for Gertler to explore the tension between his Jewish identity and his place in the avant-garde art world. Although it is possible to interpret Gertler’s new use of primitivist source material such as folk art as a search for a more ‘authentic’ visual language with which to depict everyday Jewish subject matter, primitivism was also a primary source of inspiration for post-impressionist artists and modernist groupings in London such as the Bloomsbury Group. Thus Gertler’s use of this idiom also indicates a visual sophistication in his work and explicitly aligns him with developments in avant-garde British art, despite the ambivalence to modernism’s competing factions expressed in his letters of this period (for example, Gertler to Dora Carrington, 29 September 1912, quoted by Juliet Steyn in Camden Arts Centre 1992, pp.10–11).</p>\n<p>The significance of the apple in this portrait and in <i>Family Group</i> is not clear, but in 1912 Gertler was working on an Adam and Eve composition (location unknown) and the figure of Harry may have been adapted from this work. Apples figured regularly in Gertler’s work of this period, from still life paintings such as <i>Apples</i> 1914 (private collection) to the figure composition <i>The Fruit Sorters </i>1914 (Leicester City Art Gallery).</p>\n<p>Harry Gertler was almost a decade older than his brother Mark, and provided financial support for much of the painter’s career. He worked with their parents Louis and Golda in the family fur business, which was carried out from their house in Spital Square in London’s East End. Harry and his wife Annie moved to nearby Elder Street in April 1912, where Gertler lodged with them until moving to Hampstead in 1915.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Mark Gertler: The Early and the Late Years</i>, exhibition catalogue, Ben Uri Art Gallery, London 1982, pp.8, 12, 22.<br/>\n<i>Mark Gertler: Paintings and Drawings</i>, exhibition catalogue, Camden Arts Centre, London 1992, p.72.<br/>Sarah MacDougall, <i>Mark Gertler: Works 1912–1928</i>, exhibition catalogue, Piano Nobile, London 2012, pp.20–3.</p>\n<p>Emma Chambers<br/>January 2015</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-02-02T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>In this painting Mark Gertler depicts his elder brother Harry holding an apple in his right hand. He offers the apple to the viewer with a mischievous expression. It could allude to the Bible story of Adam and Eve eating the forbidden fruit, as Gertler had painted that subject the previous year. Gertler began the work in tempera on panel before finishing it in oil paint, reflecting his interest in the techniques of Italian renaissance painters such as Piero della Francesca and Giovanni Bellini.</p>\n</div>\n", "display_name": "Online caption", "publication_date": "2023-12-01T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "actions: expressive", "adults", "body", "food and drink", "fruit, apple", "Gertler, Harry", "head / face", "individuals: male", "man", "named individuals", "objects", "people", "portraits", "smiling" ]

[ { "append_role_to_name": false, "date": "born 1972", "fc": "Wilhelm Sasnal", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/wilhelm-sasnal-7553" } ]

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

[ { "map_gallery": "TM", "map_gallery_label": "Tate Modern", "map_level": "TM_04", "map_level_label": "TM Level 4", "map_space": "TMB4E01", "map_space_label": "Tate Modern / B4E01", "map_wing": "TM_E", "map_wing_label": "TM Natalie Bell Building East", "map_zone": "TM_BH", "map_zone_label": "TM Natalie Bell Building", "nid": "451980" } ]

[ { "archiveItemCount": 0, "id": 95, "level": 2, "name": "adults", "parent_id": 91, "workCount": 20120 }, { "archiveItemCount": 139, "id": 9653, "level": 3, "name": "camera", "parent_id": 172, "workCount": 38 }, { "archiveItemCount": 1415, "id": 88, "level": 2, "name": "clothing and personal items", "parent_id": 78, "workCount": 4464 }, { "archiveItemCount": 4059, "id": 108, "level": 2, "name": "countries and continents", "parent_id": 106, "workCount": 13331 }, { "archiveItemCount": 0, "id": 38226, "level": 3, "name": "death: Muammar Gaddafi, 20 October 2011", "parent_id": 38, "workCount": 2 }, { "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": 0, "id": 38223, "level": 3, "name": "Gaddafi, Muammar", "parent_id": 102, "workCount": 2 }, { "archiveItemCount": 0, "id": 22735, "level": 3, "name": "grisaille", "parent_id": 6729, "workCount": 5 }, { "archiveItemCount": 291, "id": 799, "level": 3, "name": "group", "parent_id": 97, "workCount": 3936 }, { "archiveItemCount": 415, "id": 97, "level": 2, "name": "groups", "parent_id": 91, "workCount": 4741 }, { "archiveItemCount": 1, "id": 23301, "level": 3, "name": "hat, kepi", "parent_id": 88, "workCount": 1 }, { "archiveItemCount": 3648, "id": 33, "level": 1, "name": "history", "parent_id": 1, "workCount": 2128 }, { "archiveItemCount": 1, "id": 1161, "level": 3, "name": "Libya", "parent_id": 108, "workCount": 4 }, { "archiveItemCount": 0, "id": 40763, "level": 3, "name": "Libyan Civil War, 2011", "parent_id": 35, "workCount": 2 }, { "archiveItemCount": 1455, "id": 195, "level": 3, "name": "man", "parent_id": 95, "workCount": 8998 }, { "archiveItemCount": 58, "id": 35, "level": 2, "name": "military", "parent_id": 33, "workCount": 243 }, { "archiveItemCount": 9734, "id": 102, "level": 2, "name": "named individuals", "parent_id": 91, "workCount": 3153 }, { "archiveItemCount": 9924, "id": 78, "level": 1, "name": "objects", "parent_id": 1, "workCount": 13647 }, { "archiveItemCount": 0, "id": 91, "level": 1, "name": "people", "parent_id": 1, "workCount": 22072 }, { "archiveItemCount": 0, "id": 106, "level": 1, "name": "places", "parent_id": 1, "workCount": 26467 }, { "archiveItemCount": 16, "id": 3115, "level": 3, "name": "politician, political leader", "parent_id": 130, "workCount": 36 }, { "archiveItemCount": 1241, "id": 38, "level": 2, "name": "politics and society", "parent_id": 33, "workCount": 1096 }, { "archiveItemCount": 673, "id": 130, "level": 2, "name": "public service", "parent_id": 116, "workCount": 199 }, { "archiveItemCount": 305, "id": 172, "level": 2, "name": "scientific and measuring", "parent_id": 78, "workCount": 486 }, { "archiveItemCount": 105, "id": 5446, "level": 3, "name": "uniform / kit", "parent_id": 88, "workCount": 219 }, { "archiveItemCount": 0, "id": 116, "level": 1, "name": "work and occupations", "parent_id": 1, "workCount": 5453 } ]

[ { "artistRoomsTour": false, "dateText": "8 February 2016", "endDate": null, "exhibitionLegs": [ { "dateText": "8 February 2016", "endDate": null, "id": 10218, "startDate": "2016-02-08", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 8432, "startDate": "2016-02-08", "title": "Painting and Mass Media", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Gaddafi 2 </i>depicts a group of rebel fighters looking at, and taking images of, the body of the Libyan dictator Muammar Gaddafi, who was killed by rebels on 20 October 2011. The figure on the right is caught in the process of filming the scene, which forms the central action of the image. The mediation of the event, first through video footage, which was broadcast on the news worldwide, then through the translation of some of these images into painting, is elevated to the central subject matter of the work. <i>Gaddafi 2</i> is the second in a group of three paintings based on digital images of the violent death of Gaddafi, the others being <i>Gaddafi 1</i> 2011 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/sasnal-gaddafi-1-t14241\" title=\"View the details of this artwork\"><span>T14241</span></a>) and <i>Gaddafi 3</i> 2011 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/sasnal-gaddafi-3-t14242\" title=\"View the details of this artwork\"><span>T14242</span></a>). It is rare for Sasnal to make the relationship of his paintings to digital imagery so explicit, whereas the dramatic cropping, stark palette and obscured facial features are all highly typical of his approach.</p>\n<p>Rebel fighters captured Gaddafi hiding with his bodyguards in a large drainage pipe. In a series of frenzied events the dictator was wounded (either by shrapnel or gunshots) before being pulled from his hideout and killed, with conflicting accounts as to the exact means of his death. Mobile phone video footage of his last moments was quickly broadcast around the world. Within days of this taking place Sasnal decided to turn three key images of the events into paintings of different styles and scale in an attempt to rescue them for posterity and from the deluge of news imagery. <i>Gaddafi 1</i> depicts the corpse of the deposed dictator lying on a mattress in an empty room. <i>Gaddafi 3</i>, the largest of the three paintings, depicts the body of Gaddafi lying on a mattress, surrounded by a group of rebel fighters.</p>\n<p>Born in Poland where he studied at the Kraków Academy of Fine Arts, Sasnal has produced works on paper, photographs and films in addition to painting. He typically identifies a digital image online – rather than an image printed in a newspaper or an analogue photographic print – on which to base his painting. Most paintings are completed in one sitting over the course of a single day. Experienced as a group, <i>Gaddafi 1</i>, <i>Gaddafi 2</i> and<i> Gaddafi 3</i> emphasise the editorial process of image selection involved in Sasnal’s painting practice and the wide range of aesthetic decisions involved in translating the digital image from a low-quality print-out into a ‘high-quality’ painting.</p>\n<p>Sasnal is also represented in Tate’s collection by two earlier works, both of which were made following a visit to the United States: <i>Untitled (a)</i> 2004 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/sasnal-untitled-a-t11915\" title=\"View the details of this artwork\"><span>T11915</span></a>), which alludes to the mundane setting of a car showroom, and <i>Untitled (a)</i> 2004 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/sasnal-untitled-a-t12130\" title=\"View the details of this artwork\"><span>T12130</span></a>), which shows a sinister group of minute Ku Klux Klan-type figures in an ambiguous, nondescript landscape.</p>\n<p>\n<b>Further reading</b>\n<br/>Michele Robecchi and Craig Garrett (eds.), <i>Wilhelm Sasnal</i>, London 2011.<br/>Patrizia Dander and Julienne Lorz (eds.), <i>BILD-GEGEN-BILD/Image Counter-Image</i>, Haus de Kunst, Munich 2012, pp.155–7.<br/>Achim Borchardt-Hume (ed.), <i>Wilhelm Sasnal</i>, Whitechapel Gallery, London 2012.</p>\n<p>Achim Borchardt-Hume<br/>April 2013</p>\n</div>\n", "display_name": "Summary", "publication_date": "2016-06-07T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Gaddafi 2</i> is one of three paintings by Sasnal based on images that emerged in the media following the death of Libyan dictator Muammar Gaddafi. Here he homes in on a group of rebel fighters, apparently looking down onto the corpse, which cannot be seen due to the close cropping of the image. One of the figures appears to be filming the event. Due to the increased availability of mobile technology, significant moments in history are now routinely captured by bystanders and posted online. Sasnal further mediates such images by translating them into paintings.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2016-02-10T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "adults", "camera", "clothing and personal items", "countries and continents", "death: Muammar Gaddafi, 20 October 2011", "emotions, concepts and ideas", "formal qualities", "Gaddafi, Muammar", "grisaille", "group", "groups", "hat, kepi", "history", "Libya", "Libyan Civil War, 2011", "man", "military", "named individuals", "objects", "people", "places", "politician, political leader", "politics and society", "public service", "scientific and measuring", "uniform / kit", "work and occupations" ]

[ { "append_role_to_name": false, "date": "born 1972", "fc": "Wilhelm Sasnal", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/wilhelm-sasnal-7553" } ]

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[]

[ { "artistRoomsTour": false, "dateText": "8 February 2016", "endDate": null, "exhibitionLegs": [ { "dateText": "8 February 2016", "endDate": null, "id": 10218, "startDate": "2016-02-08", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 8432, "startDate": "2016-02-08", "title": "Painting and Mass Media", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Gaddafi 1</i> depicts the body of the Libyan dictator Muammar Gaddafi, who was killed by rebel fighters on 20 October 2011. Rather than show the corpse directly, Sasnal depicts an amorphous mass of paint resting on what appears to be a mattress. The thick impasto of the oil paint, alludes to the ripped and torn body of the dictator, contrasting sharply with the flat paint work of the surrounding space. <i>Gaddafi 1</i> is the first in a group of three paintings based on digital images of the violent death of Gaddafi, the others being <i>Gaddafi 2</i> 2011 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/sasnal-gaddafi-2-t14240\" title=\"View the details of this artwork\"><span>T14240</span></a>) and <i>Gaddafi 3</i> 2011 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/sasnal-gaddafi-3-t14242\" title=\"View the details of this artwork\"><span>T14242</span></a>). It is the smallest painting in the group and the only one to focus exclusively on the body of the dictator.</p>\n<p>Rebel fighters captured Gaddafi hiding with his bodyguards in a large drainage pipe. In a series of frenzied events, the dictator was wounded (either by shrapnel or gunshots) before being pulled from his hideout and killed, with conflicting accounts as to the exact means of his death. Mobile phone video footage of his last moments was quickly broadcast around the world. Within days of this taking place Sasnal decided to turn three key images of the events into paintings of different styles and scale in an attempt to rescue them for posterity and from the deluge of news imagery. <i>Gaddafi 2</i> depicts a group of rebel fighters looking at and taking images of the corpse of the deposed dictator. <i>Gaddafi 3</i>, the largest of the three paintings, depicts the body of Gaddafi lying on a mattress, surrounded by a group of rebel fighters.</p>\n<p>Born in Poland where he studied at the Kraków Academy of Fine Arts, Sasnal has produced works on paper, photographs and films in addition to painting. He typically identifies a digital image online – rather than an image printed in a newspaper or an analogue photographic print – on which to base his painting. Most paintings are completed in one sitting over the course of a single day. Experienced as a group, <i>Gaddafi 1</i>, <i>Gaddafi 2</i> and<i> Gaddafi 3</i> emphasise the editorial process of image selection involved in Sasnal’s painting practice and the wide range of aesthetic decisions involved in translating the digital image from a low-quality print-out into a ‘high-quality’ painting.</p>\n<p>Sasnal is also represented in Tate’s collection by two earlier works, both of which were made following a visit to the United States: <i>Untitled (a)</i> 2004 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/sasnal-untitled-a-t11915\" title=\"View the details of this artwork\"><span>T11915</span></a>), which alludes to the mundane setting of a car showroom, and <i>Untitled (a)</i> 2004 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/sasnal-untitled-a-t12130\" title=\"View the details of this artwork\"><span>T12130</span></a>), which shows a sinister group of minute Ku Klux Klan-type figures in an ambiguous, nondescript landscape.</p>\n<p>\n<b>Further reading</b>\n<br/>Michele Robecchi and Craig Garrett (eds.), <i>Wilhelm Sasnal</i>, London 2011.<br/>Patrizia Dander and Julienne Lorz (eds.), <i>BILD-GEGEN-BILD/Image Counter-Image</i>, Haus de Kunst, Munich 2012, pp.155–7.<br/>Achim Borchardt-Hume (ed.), <i>Wilhelm Sasnal</i>, Whitechapel Gallery, London 2012.</p>\n<p>Achim Borchardt-Hume<br/>April 2013</p>\n</div>\n", "display_name": "Summary", "publication_date": "2016-06-07T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Painter and film-maker Wilhelm Sasnal uses photographs as a starting point for his work. Whether finding them by chance or seeking them out on the internet, he selects images he sees as open to interpretation. His three paintings based on broadcast coverage of the killing of Libyan dictator Muammar Gaddafi – made the same year – demonstrate how painterly concerns such as scale, technique and composition transform our relation to the image. Here Sasnal depicts the body of the deposed leader as an abstract mass of thickly applied paint to imply a visceral and violent death.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2016-02-10T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>The painting is in oil on canvas, and is unvarnished. The canvas is cotton and is very fine, with a thread count of thirty warp threads and thirty weft threads per square centimetre, and it is stapled to a softwood stretcher. The priming for the canvas was prepared by the artist, using animal glue sizing and then two or three coats of a water-based priming (polyvinyl acetate, PVA) that had been thinned with water. The turnover edges have been left bare. The artist has used washy green paint diluted using turpentine, which leaves visible brush stokes to depict a square room at the centre of which is a rectangular mattress. The mattress holds a mass of heavy, extremely thick impasto.</p>\n<p>Bone black, cadmium-zinc yellow, cadmium red, ultramarine and iron oxide pigments have been identified in the heavy impasto region. Some of the impasto paint has been squeezed onto the canvas directly from the paint tube. The impasto paint is still very soft which suggests the paint is not yet fully dry. This likely relates to the thickness of the paint. Additionally, castor oil, which is a semi drying oil, was found in the soft yellow paint. Semi drying oils are often used as the binding medium or a component of the binding medium in modern oil paint formulations. Semi-drying oils do not dry as effectively as traditional drying oils such as linseed and poppy oil. This could be an additional factor causing the thick impasto paint to remain fairly soft. Talc (hydrated magnesium silicate), chalk (calcium carbonate) and barium sulphate were identified as extender pigments in the paints.</p>\n<p>The painting is in good condition and has little to no surface dirt. The painting is currently unframed and unglazed.</p>\n<p>\n<b>Further reading</b>\n<br/>Andrea Bellini, ‘Wilhelm Sasnal’, <i>Flash Art</i>, no. 261, pp.231-233. 2008.<br/>Eamonn Maxwell and Paul McAree (eds), <i>‘</i>Wilhelm Sasnal : take me to the other side’. Lismore, Co. Waterford : Lismore Castle Arts, 2014.</p>\n<p>Judith Lee<br/>February 2017</p>\n<p>\n<i>Research on this work was carried out as part of an AHRC funded Collaborative Doctoral Award at Tate 2013–2016.</i>\n</p>\n</div>\n", "display_name": "Technique and condition", "publication_date": "2018-09-28T00:00:00", "slug_name": "technique-and-condition", "type": "TECHNIQUE_AND_CONDITION_TEXT" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Gaddafi 3</i> depicts the body of the Libyan dictator Muammar Gaddafi, who was killed by rebels on 20 October 2011, lying on a mattress surrounded by a group of rebel fighters. <i>Gaddafi 3</i> is the third in a group of three paintings based on digital images of the violent death of Gaddafi, the others being <i>Gaddafi 1</i> 2011 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/sasnal-gaddafi-1-t14241\" title=\"View the details of this artwork\"><span>T14241</span></a>) and <i>Gaddafi 2</i> 2011 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/sasnal-gaddafi-2-t14240\" title=\"View the details of this artwork\"><span>T14240</span></a>). The scale of this canvas, the largest of the three, establishes a direct physical relationship between the viewer and the fighters depicted within it, both engaged in focusing on the lifeless body. The flat application of oil paint, unusual fleshy palette and use of grey-scale with a preponderance of saturated black, are all typical of Sasnal’s practice. The dramatically foreshortened figure of Gaddafi also recalls Andrea Mantegna’s painting <i>Lamentation of Christ</i> c.1480 (Pinacoteca di Brera, Milan).</p>\n<p>Rebel fighters captured Gaddafi hiding with his bodyguards in a large drainage pipe. In a series of frenzied events the dictator was wounded (either by shrapnel or gunshots) before being pulled from his hideout and killed, with conflicting accounts as to the exact means of his death. Mobile phone video footage of his last moments was quickly broadcast around the world. Within days of this taking place Sasnal decided to turn three key images of the events into paintings of different styles and scale in an attempt to rescue them for posterity and from the deluge of news imagery. <i>Gaddafi 1</i>, the smallest of the three, depicts the corpse of the deposed dictator lying on a mattress in an empty room<i>. Gaddafi 2</i> depicts a group of rebel fighters looking at, and taking images of, Gaddafi’s body.</p>\n<p>Born in Poland where he studied at the Kraków Academy of Fine Arts, Sasnal has produced works on paper, photographs and films in addition to painting. He typically identifies a digital image online – rather than an image printed in a newspaper or an analogue photographic print – on which to base his painting. Most paintings are completed in one sitting over the course of a single day. Experienced as a group, <i>Gaddafi 1</i>, <i>Gaddafi 2</i> and<i> Gaddafi 3</i> emphasise the editorial process of image selection involved in Sasnal’s painting practice and the wide range of aesthetic decisions involved in translating the digital image from a low-quality print-out into a ‘high-quality’ painting.</p>\n<p>Sasnal is also represented in Tate’s collection by two earlier works, both of which were made following a visit to the United States: <i>Untitled (a)</i> 2004 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/sasnal-untitled-a-t11915\" title=\"View the details of this artwork\"><span>T11915</span></a>), which alludes to the mundane setting of a car showroom, and <i>Untitled (a)</i> 2004 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/sasnal-untitled-a-t12130\" title=\"View the details of this artwork\"><span>T12130</span></a>), which shows a sinister group of minute Ku Klux Klan-type figures in an ambiguous, non-descript landscape.</p>\n<p>\n<b>Further reading</b>\n<br/>Michele Robecchi and Craig Garrett (eds.), <i>Wilhelm Sasnal</i>, London 2011.<br/>Patrizia Dander and Julienne Lorz (eds.), <i>BILD-GEGEN-BILD/Image Counter-Image</i>, Haus de Kunst, Munich 2012, pp.155–7.<br/>Achim Borchardt-Hume (ed.), <i>Wilhelm Sasnal</i>, Whitechapel Gallery, London 2012.</p>\n<p>Achim Borchardt-Hume<br/>April 2013</p>\n</div>\n", "display_name": "Summary", "publication_date": "2016-06-07T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>The third and largest of Sasnal’s paintings relating to the death of Muammar Gaddafi shows both the Libyan dictator’s corpse and a group of onlookers. All but one of the figures have been rendered anonymous by the close cropping of the image so that only their bodies are visible. In this treatment of the subject, Sasnal seems to refer as much to art history as to history, evoking Andrea Mantegna’s fifteenth-century depiction of the dead Christ through the dramatic foreshortening of the corpse while also echoing the monumental scale of history painting.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2016-02-10T00:00:00", "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>Industrial Painting</i> 1958 is a seventy-four metre long painted canvas by the Italian artist Pinot Gallizio. The work is abstract with gestural marks and pools of saturated colours: predominantly bright pink, yellow, light blue, light green and black. The canvas is rolled up around a wooden spool and can be unfurled for display to a minimum of ten metres. It was made using a ‘painting machine’, which extended the process of painting from the hand of the artist to a series of mechanical rollers that opened up the possibility of creating excessively long works. Gallizio made a series of works in this format after experimenting with new techniques in his ‘laboratory’ in Alba, Italy, in 1956. <i>Industrial Painting</i> is the largest and the second painting of this kind that he made: the first, at nine metres long, dates from 1957. <i>Industrial Painting </i>1958 was made just prior to <i>Cavern of Anti-Matter</i> 1959, Gallizio’s other major work.</p>\n<p>Gallizio began making art after working as a chemist and this experience informed his artistic experiments. The art historian Frances Stracey has described how ‘In this collapse of the division of labour between artist and scientist, Gallizio emerged as a sort of modern-day alchemist’ (Stracey 2005, p.397). <i>Industrial Painting </i>utilised the artist’s scientific knowledge alongside technology associated with mass production to create something that was, in contrast to the usual application of these processes, chaotic and entirely unique. In addition to the painting machines – long drafting tables with mechanised rollers – Gallizio had numerous collaborators including other artists and children. Through this process of <i>peinture d’ensemble </i>(group painting), which involved the collaborators applying the paint with particular gestures prescribed by Gallizio, the artist’s studio took on the character of a factory as well as a laboratory. Despite mimicking other forms of work, Gallizio understood the industrial paintings as a way for art and painting specifically to ‘liberate antieconomic energies’ for a future age (Pinot Gallizio, ‘Manifesto of Industrial Painting: For a Unitary Applied Art’, trans. by Mollie Klein, August 1959, <a href=\"http://www.notbored.org/gallizio.html\">http://www.notbored.org/gallizio.html</a>, accessed 7 June 2016). Following this alternative mode of production, Gallizio’s paintings were sold by the metre in the street market of Alba as well as in commercial art galleries.</p>\n<p>In 1956 Gallizio, along with the Danish painter Asger Jorn, organised the <a href=\"http://en.wikipedia.org/w/index.php?title=First_World_Congress_of_Free_Artists&amp;action=edit&amp;redlink=1\">First World Congress o Free Artists</a>. This event that was instrumental in the founding, in 1957, of the Situationist International, an international group of social activists interested in critiquing the alienating effects of modern life. Gallizio left the Situationist International in 1960 as it became focused on political, rather than artistic, action.</p>\n<p>\n<i>Industrial Painting </i>was included in the exhibition <i>On the passage of a few people through a rather brief moment in time: The Situationism International 1957–1972</i> at the Institute of Contemporary Arts, London, in 1989–90, which also travelled to the Centre Pompidou, Paris, and the Institute of Contemporary Art, Boston. It has also been shown in exhibitions at the Tinguely Museum, Basel (2007), the Sydney Biennial (2008) and the Museo Centro de Arte Reina Sofia, Madrid (2010).</p>\n<p>\n<b>Further reading</b>\n<br/>Paul Schimmel, <i>Out of Actions: Between the Action and the Object</i>, exhibition catalogue, Museum of Contemporary Art, Los Angeles 1998.<br/>Maria Teresa Roberto, <i>Pinot Gallizio: Catalogo generale delle opere 1953–1964</i>,<i> </i>Milan 2001.<br/>Frances Stracey, ‘Pinot Gallizio’s “Industrial Painting”: Towards a Surplus Life’, <i>Oxford Art Journal</i>,<i> </i>vol.28, no.3, October 2005, pp.391–405.</p>\n<p>Catherine Wood<br/>March 2012</p>\n</div>\n", "display_name": "Summary", "publication_date": "2016-06-07T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Pinot Gallizio was an early member of the Situationist International, an avant-garde group that attempted to analyse and subvert the capitalist commodification of daily life. Gallizio’s ‘industrial painting’ adapted mechanised manufacturing techniques to challenge established models for the production and distribution of art. The paint was applied onto long rolls of canvas by a team of assistants using a low-tech ‘painting machine’, so that the result was mass-produced but also unique. Gallizio would then cut off sections to be sold.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2013-05-06T00:00:00", "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>Our Daily Bread</i> 1978 is comprised of six postcards and a brown paper bag with offset printing mounted on card. Each of the postcards reproduce black and white photographic images. The first depicts the lower section of a woman’s face, focusing on her mouth, in front of which she holds a slice of white bread. Two postcards show close-ups of slices of bread with the cartographic shape of Latin America and Brazil removed from the centres. Another postcard shows the two slices alongside one another and a further postcard shows the slices in a breadbasket. The last postcard shows the breadbasket with no bread but with the outline of Latin America and Brazil remaining where previously the slices with their voids had been. The brown paper bag is of a type that was typically used in Brazil for bread.<i> </i>The work documents a performance by Geiger in 1978 that addressed the subject of poverty within Brazil, but also more widely within Latin America.</p>\n<p>Geiger was born in Rio de Janeiro in 1933 to Polish immigrant parents. After participating in the First National Exhibition of Abstract Art in Rio in 1953, she studied art history and sociology at New York University. Returning to Brazil, she became a teacher and a participant in Brazil’s conceptual art scene. A pioneer of video art in Brazil, she also became known for her work in a variety of reproduction techniques, particularly engraving, photomontage and photogravure. In 1987 she published <i>Abstraccionismo geométrico e informal: a vanguadia brasiliera nos anos cinquenta </i>(<i>Informel and Geometric Abstraction: The Brazilian Avant-Garde of the 1950s</i>), a key text on Brazilian art of the 1950s co-authored with Fernando Cocchiarale.</p>\n<p>The performance documented by <i>Our Daily Bread</i>, in which the artist ate bread and distributed postcards, was originally made in 1978, but was restaged at the thirty-ninth Venice Biennale in 1980, at which Geiger represented Brazil. Through the work, bread becomes identifiable with earth and with identity. By evoking the theme of consumption within the context of Brazilian art, it also makes reference to the persistent theme of anthropofagia (the ingestion of the other) and thus to forms of cultural resistance traceable to the avant-garde’s deployment of Brazil’s indigenous cultures. Such references to anthropofagia and their relation to the politics of Brazilian identity have been a regular feature of Geiger’s work. Likewise, maps have also been a constant element of her oeuvre and refer again to the issue of national identity.</p>\n<p>Geiger’s work is regularly included in surveys of Brazilian art, and was featured in the exhibitions <i>Modern Women, Single Channel</i> at MOMA PS1 in New York in 2011, <i>Vidéo Vintage</i> at the Centre Pompidou, Paris, in 2012 and <i>America Latina Photographs 1960–2013</i> at the Fondation Cartier, Paris, and Museo Amparo, Puebla, in 2013–14. In 2008 Geiger was given a solo exhibition at the Paço Imperial, Rio de Janeiro. Examples of <i>Our Daily Bread</i> are also held in the collections of Harvard Art Museum in Cambridge, Massachusetts, and M KHA, Antwerp.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Anna Bella Geiger: Territórios, Passagens, Situações</i>, exhibition catalogue, Casa da Palavra, Rio de Janeiro 2007, reproduced p.52.<br/>\n<i>Anna Bella Geiger: Fotografia além da fotografia, 1972–2008</i>, exhibition catalogue, Paço Imperial, Rio de Janeiro 2008.<br/>Marek Bartelik, ‘Anna Bella Geiger: On Paper and in “Reel Time”’, Henrique Faria Fine Art, New York, 2012, <a href=\"http://www.henriquefaria.com/exhibition-about?id=65\">http://www.henriquefaria.com/exhibition-about?id=65</a>, accessed July 2014.</p>\n<p>Tanya Barson<br/>July 2014</p>\n</div>\n", "display_name": "Summary", "publication_date": "2016-06-09T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Our Daily Bread</i> documents a performance in which Geiger ate bread and distributed postcards, addressing the subject of poverty in Brazil and more widely within Latin America. The outlines of Brazil and South America appear as holes in slices of bread on two of the postcards, and as outlines in the empty bread basket. While the title has Christian resonances, the theme of consumption links this work to ideas of cultural cannibalism: a strategy for absorbing external influences and creating a proudly hybrid national identity which was a key concept in Brazilian modernism from the 1920s onwards.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2016-02-10T00:00:00", "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>Bureau de Change</i> 1987 consists of a large-scale rendering (2290 x 1520 millimetres) of one of Vincent van Gogh’s (1853–1890) iconic <i>Sunflowers </i>paintings (see, for example, <i>Sunflowers </i>1888, National Gallery, London), made using £1,000 worth of British coinage laid out flat on a fragmented section of wooden flooring. The image of the coin ‘painting’ is lit using a theatrical lighting rig. To one side sits a uniformed guard and a video monitor suspended from the ceiling displays an image of the coin ‘painting’ fed to it by a CCTV camera directed at the work. The installation is completed by a viewing platform from which the piece can be appraised. Finn-Kelcey’s initial motivation for making the work was the sale at auction in 1987 of one of van Gogh’s <i>Sunflowers</i> to the Yasuda Insurance Company of Japan for the then record price for any work of art of £24.5 million. The critic Richard Cork observed of Finn-Kelcey’s piece that, ‘No wonder a security guard sat beside them [the image made out of coins] throughout the show, silently protecting an image whose inflated market value has forced it to undergo an ironic yet alluring metamorphosis into hard cash.’ (In Irish Museum of Modern Art 1997, p.20.)</p>\n<p>Her interest, however, lay not only in the original sale of the van Gogh painting but also in the changing power that any image can have and how that power and the meaning of a work of art can be changed simply through market forces. The tableau that makes up <i>Bureau de Change</i> is a constructed illusion, just as the value and meaning of the original painting is presented as a shifting illusion. In this respect the critic Guy Brett has commented about the work that:</p>\n<p class=\"cttext\">\n</p><blockquote>The relation of materiality to value has become extremely confusing, and also challenging ... van Gogh’s <i>Sunflowers</i> was apparently only there in the form of the money that it was notionally convertible into. And yet the money was not there as pure symbol or currency but as a surrogate for the alchemy of art. It was hard to say where the value was located between two conflicting kinds of symbol.<br/>(In Chisenhale Gallery 1992 / Ikon Gallery 1994, unpaginated.)</blockquote>\n<p>The gold, silver and copper coins that Finn-Kelcey used are close in tone to the tones of the original painting. She explained at the time: ‘Some of the coins are quite dirty to reflect that the money has been in circulation and passed through people’s hands. Once the piece is finished the money has to be bagged up, taken to the bank and goes back into people’s pockets.’ (Quoted in Irish Museum of Modern Art 1997, p.40.) The title for the installation (taken from the commonly used French term for an office where foreign currency can be exchanged), the circulation of the coins that make up its image and the sale of the original painting all depict an idea of exchange value, an idea that is embodied in the image of <i>Sunflowers</i> being sold at auction; just as the painting assumed a greater financial value, so it also accrued another layer of meaning.</p>\n<p>The subject of value – both as a comment on the effect of the art market and the capitalist system as a whole – is enhanced by Finn-Kelcey’s introduction of surveillance into her installation as a way of enhancing or emphasising value. At the same time, the presence of the guard locates the work somewhere between installation and performance and contrasts reality and artifice as represented within the situation the artist has constructed. This surveillance is indicated not just by the spotlights, the CCTV monitoring of the coins, or the presence of the uniformed guard, but also by the viewing platform which is the only way that the tableau can be properly observed by the visitor. Describing this aspect of the work, Finn-Kelcey has stated that:</p>\n<p class=\"cttext\">\n</p><blockquote>I wanted to give the viewer the optimum position from which to see the work, because the work is on the floor, you really need to look down on it to suggest that it’s come from the painting. I also wanted to emphasise the relationship between the subject and the viewer and to give the viewer a sense of importance, of being raised. I’ve been able, with the attendant and the surveillance to emphasise the preciousness of the work. But the surveillance is also there to re-present the image – the image on the monitor is almost like the painting, some people come in and think it’s a pre-recorded image of the actual painting and it’s only when they see the camera they realise it’s a live image that’s relayed to the monitor and so again the image has undergone another transformation through electronics as opposed to metal.<br/>(Ibid.)</blockquote>\n<p>It is this sense of transformation that situates <i>Bureau de Change</i> within Finn-Kelcey’s work as a whole and her dominant thematic of varying forms of changing states, such as the play of the wind (in various works using weather forecast flags and wind socks dating from 1969–73, or the fluttering of analogue pixels on a church façade in <i>Angel</i> 2004); the presentation of environments of steam (<i>Steam Installation</i> 1992, Arts Council Collection) or ice within a controlled environment (<i>Royal Box</i> 1992 and <i>Just Minus</i> 1994), or the installation for Camden Art Centre, <i>Join The Dots</i> 1997, for which windows were blacked out by bales of straw – an urban space becoming a muffled stable. <i>Bureau de Change</i> is also reflective of a different order that joins Finn-Kelcey’s interest in the push and pull of the sacred and profane, as much as in the ties between art and the market that can be equally recognised in works such as her installation for the Millennium Dome, <i>It Pays to Pray </i>1999, and in <i>A Shot in the Locker</i> 2000. This later work was made for a deconsecrated baroque church in Mexico. The deposit of any coins into an offertory box placed in the centre of the church was amplified by speakers set throughout the church. This led historian and critic Guy Brett to ask if this was ‘a beautiful art event … or a satire on religion’s link with lucre? Both I believe, as <i>Bureau de Change</i> had been, in other terms. The kitschification of Van Gogh is paralleled by the kitschification of religion. Both can be reworked to take on a new meaning.’ (Brett 2013, p.116.)</p>\n<p>Finn-Kelcey made three versions of <i>Bureau de Change</i>. The one in Tate’s collection, previously in the Weltkunst Collection, is the ‘Extended Version’ of that created and shown in 1987 and then, extended, in 1988 when it was exhibited at Matt’s Gallery in London. The version shown at the New Museum, New York in 1992 was the ‘International Version’ in which sterling, dollars and yen coins were used to make up the image, while that shown in 2003 at the Irish Museum of Modern Art, Dublin was the ‘Irish Version’, made using Irish currency.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Rose Finn-Kelcey</i>, exhibition catalogue, Chisenhale Gallery, London 1992 / Ikon Gallery, Birmingham 1994, illustrated, unpaginated.<br/>\n<i>Breaking the Mould, British Art of the 1980s and 1990s. The Weltkunst Collection</i>, exhibition catalogue, Irish Museum of Modern Art, Dublin 1997, illustrated p.41.<br/>Guy Brett, <i>Rose Finn-Kelcey</i>, London 2013, illustrated pp.50–5.</p>\n<p>Andrew Wilson<br/>August 2013</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-09-12T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "actions: postures and motions", "adults", "architecture", "arms folded", "clothing and personal items", "coin", "commerce", "electrical appliances", "features", "fine art and design, named works", "floor", "heating and lighting", "light, spotlight", "man", "miscellaneous", "objects", "people", "plants and flowers", "platform / stage", "security camera", "security guard", "sitting", "social comment", "society", "stair / step", "sunflower", "trading and commercial", "uniform / kit", "Van Gogh, Vincent, painting, ‘Sunflowers’", "video monitor", "work and occupations" ]

[ { "append_role_to_name": false, "date": "1933–1982", "fc": "Feliza Bursztyn", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/feliza-bursztyn-18263" } ]

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

[]

[]

[ { "artistRoomsTour": false, "dateText": "18 December 2021 – 26 June 2022", "endDate": "2022-06-26", "exhibitionLegs": [ { "dateText": "1 December 2021 – 30 June 2022", "endDate": "2022-06-30", "id": 14558, "startDate": "2021-12-01", "venueName": "Muzeum Susch (Susch, Switzerland)", "venueWebsiteUrl": null } ], "id": 11989, "startDate": "2021-12-18", "title": "Feliza Bursztyn: Welding Madness", "type": "Loan-out" } ]

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[]

[ { "append_role_to_name": false, "date": "1942–1998", "fc": "Jean Spencer", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/jean-spencer-2697" } ]

[ { "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": "11 July 2016 – 2 April 2017", "endDate": "2017-04-02", "exhibitionLegs": [ { "dateText": "11 July 2016 – 2 April 2017", "endDate": "2017-04-02", "id": 10758, "startDate": "2016-07-11", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 8872, "startDate": "2016-07-11", "title": "In Focus: Systems", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "14 October 2017 – 31 January 2021", "endDate": "2021-01-31", "exhibitionLegs": [ { "dateText": "14 October 2017 – 31 January 2021", "endDate": "2021-01-31", "id": 11254, "startDate": "2017-10-14", "venueName": "Tate St Ives (St Ives, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/stives/" } ], "id": 9298, "startDate": "2017-10-14", "title": "Modern Art and St Ives", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "13 March 2021", "endDate": null, "exhibitionLegs": [ { "dateText": "13 March 2021", "endDate": null, "id": 14385, "startDate": "2021-03-13", "venueName": "Tate St Ives (St Ives, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/stives/" } ], "id": 11864, "startDate": "2021-03-13", "title": "Gallery 7: Modern Art and St Ives", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>White Relief</i> 1969 is a square white monochrome relief measuring thirty-six by thirty-six inches built up from a wood and hardboard base. The basic framework for the relief is based on a square projecting from its surface as a cube to realise a progressive permutation of positive and negative space. One centrally positioned vertical band is bisected by two horizontal bands, one of which mirrors as a rotation the positive spaces of the other, cutting across the vertical band as negative spaces. The structure can then be mapped as sequences of squares that chart a string of rotations and reflections. The relief thus depicts a systematic movement and progression within its composition, but also suggests that this may be part of a permutation within a larger series or set. Spencer approached her reliefs in series as she described in the catalogue essay to her second solo exhibition in 1969, the year this work was made: ‘Within each series of reliefs the first are concerned with a direct use of the units; subsequently the rigid framework of the units is broken down.’ (Untitled artist’s statement in <i>Jean Spencer</i>, exhibition catalogue, Arts Centre, University of Sussex, Brighton 1969, unpaginated.)</p>\n<p>Spencer’s approach to making work in series based on mathematical permutations was common to many artists who worked to extend a constructivist or constructionist tradition, and formed one of the principles with which the artists Jeffrey Steele (born 1931) and Malcolm Hughes (1920–1997) formed the exhibiting group ‘Systems’ in 1969. (Spencer had been a student of Hughes’s at Bath Academy of Art from 1960–3 and was the group’s youngest member.) In the catalogue introduction to the group’s first exhibition, in Helsinki in 1969, Jeffrey Steele stated that although the nine artists in the exhibition ‘encompass a wide range of propositions about scale, proportion, surface, space and colour there is a common factor. This is that these propositions are all obtained by means of the articulation of a two-dimensional surface, by some system of measurement’. Steele then went on to explain the ideology behind the artists’ work, that ‘it may have some basis in a perfect existential reality before it is discovered by the artist rather as a mathematical theorem is true regardless of whether or not it is recognised, understood or applied’. Further, he stated that the concept or initial framework for the work might be understood as ‘a negotiable form’ that can be processed to create a serial approach to work understood as a ‘system’ (Jeffrey Steele, ‘Systeemi Syntactic Art –1969’, in Amos Anderson Art Museum 1969, unpaginated). His use of the word ‘syntactic’ to describe the work made by the artists gathered together for the exhibition suggested that their approach, which acknowledged the workings of a system or series, was analogous to the formation of meaning through grammatical syntax.</p>\n<p>The Systems group broke up by the end of the 1970s, by which time Spencer had moved away from the monochrome relief to an investigation of colour relations in paintings that were nevertheless still founded on many of the same principles as her constructed reliefs of the late 1960s and early 1970s. Even so, despite her use of mathematical and geometrical procedures in her reliefs, she stressed that ‘the regulating structure of the relief is in no way dictated by mathematical concepts, rather evolved through a series of discussions which involve mathematical disciplines, but remain fundamentally intuitive’ (untitled artist’s statement in <i>Jean Spencer</i>, exhibition catalogue, Arts Centre, University of Sussex, Brighton 1969).</p>\n<p>It is currently not certain whether this relief is the same one that was exhibited in 1969 in <i>System. Systeemi</i> (as <i>White Relief No.3</i>) at the Amos Anderson Art Museum in Helsinki, or (as <i>White Relief</i>) in Spencer’s second solo exhibition held the same year at the University of Sussex Arts Centre, Brighton.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Systeemi. System, An Exhibition of Syntactic Art from Britain</i>, exhibition catalogue, Amos Anderson Art Museum, Helsinki 1969.<br/>\n<i>Jean Spencer, A Retrospective Exhibition</i>, exhibition catalogue, Yarrow Gallery, Oundle School, Oundle 2006.<br/>\n<i>Jean Spencer 1942–1998</i>, exhibition catalogue, Redfern Gallery, London 2014, reproduced p.7.</p>\n<p>Andrew Wilson<br/>December 2014</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-01-25T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[]

[ { "append_role_to_name": false, "date": "born 1972", "fc": "Alessandro Balteo-Yazbeck", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/alessandro-balteo-yazbeck-13724" }, { "append_role_to_name": false, "date": "", "fc": "Media Farzin", "prepend_role_to_name": true, "role_display": "associated with", "url": "https://www.tate.org.uk/art/artists/media-farzin-13726" } ]

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[ { "archiveItemCount": 5302, "id": 29, "level": 1, "name": "emotions, concepts and ideas", "parent_id": 1, "workCount": 11114 }, { "archiveItemCount": 0, "id": 40778, "level": 3, "name": "film montage", "parent_id": 6729, "workCount": 3 }, { "archiveItemCount": 3599, "id": 6729, "level": 2, "name": "formal qualities", "parent_id": 29, "workCount": 8855 }, { "archiveItemCount": 20, "id": 6919, "level": 3, "name": "fragmentation", "parent_id": 6729, "workCount": 213 } ]

[]

[]

[ "emotions, concepts and ideas", "film montage", "formal qualities", "fragmentation" ]

[ { "append_role_to_name": false, "date": "born 1965", "fc": "Tacita Dean CBE", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/tacita-dean-cbe-2675" } ]

[ { "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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[ { "archiveItemCount": 1, "id": 13, "level": 1, "name": "architecture", "parent_id": 1, "workCount": 30959 }, { "archiveItemCount": 17, "id": 1165, "level": 3, "name": "chimney", "parent_id": 19, "workCount": 88 }, { "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": 457, "id": 19, "level": 2, "name": "industrial", "parent_id": 13, "workCount": 1618 }, { "archiveItemCount": 1023, "id": 70, "level": 3, "name": "natural phenomena", "parent_id": 60, "workCount": 2111 }, { "archiveItemCount": 122, "id": 9328, "level": 3, "name": "photographic", "parent_id": 6729, "workCount": 4551 }, { "archiveItemCount": 18, "id": 1792, "level": 3, "name": "smoke", "parent_id": 70, "workCount": 268 } ]

[ { "artistRoomsTour": false, "dateText": "11 October 2011 – 15 April 2012", "endDate": "2012-04-15", "exhibitionLegs": [ { "dateText": "11 October 2011 – 9 April 2012", "endDate": "2012-04-09", "id": 6321, "startDate": "2011-10-11", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 5162, "startDate": "2011-10-11", "title": "Unilever Series 2011", "type": "Exhibition" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>FILM</i> 2011 is a portrait of the analogue, photochemical, non-digital medium of film, made by the artist Tacita Dean. It is silent, lasts 10 minutes and 42 seconds, and is played on a continuous loop. Dean made <i>FILM</i> by turning a Cinemascope lens ninety degrees, upending the usual landscape format so it becomes vertical and in scale with the proportions of Tate Modern’s Turbine Hall, for which the work was commissioned in 2011 as part of the Unilever Series. It has been produced in an edition of four, of which Tate’s copy is number one. <i>FILM </i>depicts Tate Modern, however many of the scenes are overlaid with scratches and paint or oversaturated with colour. It has sprocket holes evocative of the analogue medium down the left- and right-hand sides. When the work was shown as part of the Unilever Series in 2011–12, it was projected on a specially made screen on the eastern wall of the Turbine Hall.</p>\n<p>To produce the various visual effects in <i>FILM</i> Dean used both in-camera and studio techniques, such as masking, double-exposure and glass matte painting. Dean’s edit of the material, as well as her additions and manipulations, established a relationship between the artist’s hand and the mechanically produced film. The effect is playful and intimate, reminding us of the pro-filmic event – the real situation happening in front of the camera – even when projected on a monumental scale. The ad-hoc nature of the images also points to the early days of cinema, even though the film used was some of the last to be produced at the Kodak factory and so might also be seen as a lament for a nearly extinct process. In the press release for the display of <i>FILM</i> at Tate Modern, Dean commented that the work aimed, ‘to show film as film can be – film in its purest form’ (‘The Unilever Series 2011: Tacita Dean’, press release, Tate, 10 October 2011, <a href=\"http://www.tate.org.uk/press/press-releases/unilever-series-2011-tacita-dean\">http://www.tate.org.uk/press/press-releases/unilever-series-2011-tacita-dean</a>, accessed 25 June 2018). Critic Adrian Searle, writing in the <i>Guardian </i>newspaper, described it as: ‘A silent movie, <i>Film</i> is a rejoinder to the digital noise of the modern world. It recalls early cinema and experiments with colour, cinema as art abstraction and as home movie, structuralist film and underground cinema. It is cool and passionate, lovely and weirdly old-fashioned.’ (Adrian Searle, ‘Tacita Dean: <i>Film</i> – Review, <i>Guardian</i>, 10 October 2011, <a href=\"https://www.theguardian.com/artanddesign/2011/oct/10/tacita-dean-film-review\">https://www.theguardian.com/artanddesign/2011/oct/10/tacita-dean-film-review</a>, accessed 25 June 2018.)</p>\n<p>As <i>FILM </i>was projected on a screen in the Turbine Hall, the architecture of Tate Modern became an integral element of the work. The steel beams which clad the walls also structured the composition of the various montage shots, while the long and narrow series of windows on the far wall recalled the strips of film, offering the viewer a complex interweaving of film and setting, real and artificial world. More broadly, like the fate of Sir Giles Gilbert Scott’s disused power station – an obsolete structure that found a new lease of life as a museum – Dean’s film reflected the fate imposed upon the medium of film as it migrates from the cinema to find its last refuge within the gallery’s walls.</p>\n<p>\n<i>FILM</i> has the rhythm and metre of a visual poem. Images, some familiar from Dean’s previous works, such as lightning, trees and seascapes, are juxtaposed with panels of colour and interact with the grid structure of the wall. The resulting piece is a montage of black and white, colour and hand-tinted images, which includes allusions to surrealist art, a painting by Dutch modernist Piet Mondrian, the mountains of René Daumal’s novel <i>Mount</i> <i>Analogue</i> and the mountain logo of Paramount Studios. Dean’s characteristic celebration of what is normally considered waste in filmmaking, such as the picture fading at the tail end of a roll, flash frames of over-exposure as the camera stops and starts, and the shimmering metamorphosis of a colour filter change, are also evident in this work. Although she works across a wide range of media, Dean has used film throughout her career – it is her working material, and she has stated that she needs ‘the stuff of film as a painter needs the stuff of paint’ (quoted in Charles Darwent, ‘Tacita Dean, Turbine Hall, Tate Modern, London’,<i> Independent</i>, 16 October 2011, <a href=\"https://www.independent.co.uk/arts-entertainment/art/reviews/tacita-dean-turbine-hall-tate-modern-london-2371148.html\">https://www.independent.co.uk/arts-entertainment/art/reviews/tacita-dean-turbine-hall-tate-modern-london-2371148.html</a>, accessed 25 June 2018).</p>\n<p>\n<b>Further reading</b>\n<br/>Nicholas Cullinan (ed.), <i>Tacita Dean: FILM</i>, exhibition catalogue, Tate Modern, London 2011.</p>\n<p>Nicholas Cullinan<br/>November 2011</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-08-21T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "architecture", "chimney", "emotions, concepts and ideas", "formal qualities", "industrial", "natural phenomena", "photographic", "smoke" ]

[ { "append_role_to_name": false, "date": "born 1966", "fc": "Akram Zaatari", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/akram-zaatari-11598" } ]

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[]

[ { "artistRoomsTour": false, "dateText": "1 November 2021 – 19 November 2023", "endDate": "2023-11-19", "exhibitionLegs": [ { "dateText": "1 November 2021", "endDate": null, "id": 14416, "startDate": "2021-11-01", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11885, "startDate": "2021-11-01", "title": "Akram Zaatari", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Dance to the End of Love</i> 2011 is a video installation by the Lebanese filmmaker and photographer Akram Zaatari comprising four projections with sound and lasting twenty-two minutes. It is made up of found YouTube footage of Arab youths that have filmed themselves and uploaded their films on the internet. Referring to this work and other related video pieces, Zaatari has noted that ‘all of these films were produced on the eve of what is today referred to as the “Arab Uprising” [or Arab Spring]’ (quoted in MUSAC/MUAC 2011, p.73). Seen from this perspective, the work explores the potential of the internet, and specifically of social media platforms such as YouTube, as spaces that are both intimate and public, as well as the production and sharing of individual experience in parallel with major political and social events.</p>\n<p>\n<i>The </i>low-resolution videos are shot with mobile phones in countries such as Egypt, Yemen, Libya, Saudi-Arabia and Oman. At the beginning of the work, the viewer is presented with videos of boys using pistols or playing at firing missiles, followed by scenes of drag racing and stretches of road with cars performing driving stunts on two wheels. Other videos on alternate screens show half-naked muscled men presenting posed routines such as bodybuilders might and aspiring singers performing songs in front of the camera. Further scenes show men dancing or departing to the sound of popular melodies, or reveal Arab men kissing and fondling each other in a manner that blurs the boundary between friendship and homosexuality. The soundtrack is emotive and is used to shape a common narrative that expresses masculine power, feelings of affection or the difficulty of separation. </p>\n<p>The viewer is presented with numerous heterogeneous images of personal and public male rituals. Performed in private spaces or for very small audiences, these personal acts are then publicly broadcast via YouTube to millions of people around the globe. This representation of unconstrained masculine behaviour and male-only social practices among boys and men ultimately becomes a kaleidoscopic view of linked images from the Arab online community, which remains even today a highly masculine environment. </p>\n<p>Zaatari has said of the work:</p>\n<p class=\"cttext\">\n</p><blockquote>These clips represent people’s chance to be in public, to ‘be on TV!’ The web enables us to hear all those voices, all those desires screaming out from remote rural places, from villages and cities, wanting to be admired, loved, wanting to be heard and seen. So by putting themselves on YouTube, they inscribe themselves in public like engraving your name on a trunk in the old days or like making graffiti on a wall. One makes fascinating encounters amidst a lot of boring stuff.<br/>(quoted in MUSAC/MUAC 2011, p.125.)</blockquote>\n<p>With <i>Dance to the End of Love</i>, Zaatari continues his exploration of the theme of male bodily presence, building on earlier works such as the video <i>Nature Morte</i> 2008 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/zaatari-nature-morte-t12891\" title=\"View the details of this artwork\"><span>T12891</span></a>), but here he expands his enquiry into communication technologies and the documentation of social practices and configurations of male subjectivity via the medium of the internet. This is a development from many of the artist’s previous projects (for example, <i>Objects of Study/The Archive of Studio Shehrazade/Hashem el Madan/Studio Practices </i>2007, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/zaatari-syrian-resistant-studio-shehrazade-saida-lebanon-early-1970s-hashem-el-madani-p79396\" title=\"View the details of this artwork\"><span>P79396</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/zaatari-mursi-right-and-a-friend-studio-shehrazade-saida-lebanon-1958-hashem-el-madani-p79512\" title=\"View the details of this artwork\"><span>P79512</span></a>) which have explored the formation of regional identities in the Arab world via photographic archives. Zaatari’s wider practice is concerned with the state of image-making today and involves the study and investigation of practices related to the production of images, which function as personal memories and histories while also defining a social, political and cultural context. Concerned not only with the image itself but also with its distribution and routes of exchange, Zaatari collects and preserves photos, videos and visual documents from the entire region of the Middle East and North Africa and from Arab communities around the world.</p>\n<p>\n<i>Dance to the End of Love</i> was exhibited in the Kunstnernes Hus, Oslo in 2011, the Liverpool Biennial in 2012 and at the Museum of Modern Art, New York in 2013. The work exists in an edition of five plus two artist’s proofs; Tate’s copy is number one in the main edition.</p>\n<p>\n<b>Further reading</b>\n<br/>Karl Bassil and Akram Zaatari (eds.), <i>Akram Zaatari: Earth of Endless Secrets</i>, exhibition catalogue, Kunstverein München 2009.<br/>Agustín Pérez Rubio (ed.), <i>Akram Zaatari: El Molesto Asunto; The Uneasy Subject</i>, exhibition catalogue, MUSAC, Museo de Arte Contemporaneo de Castilla y Leon, MUAC, Museo Universitario Arte Contemporaneo, Mexico City 2011, pp.73–5, reproduced pp.125–7.</p>\n<p>Vassilis Oikononomopoulos<br/>July 2013</p>\n</div>\n", "display_name": "Summary", "publication_date": "2020-07-07T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Kali</i> 1984 is a video that documents a performance by Sutapa Biswas that took place in January 1984. In the performance, Biswas and her fellow student at Leeds University, Isabelle Tracey, both play themselves and also, respectively, the characters Kali and Raban. This doubling of identities is reinforced by the use of puppets of both Kali (a puppet with a black face wearing a paper crown, whose body takes the form of a white pillow with a vivid red almost circular splash painted on its front) and Raban (a small green puppet). Kali is the Hindu goddess of time and change, and her name literally translates as black goddess. Within Hindu mythology she was created to inhabit more than one representation (hence the multiple identities in the performance) in order to rid the world of evil, embodied by Raban. Also appearing as referential props in the video are a tin of Heinz lentil soup that ‘plays’ the American artist Andy Warhol (1928–1987), Alpen muesli that ‘plays’ both a Nazi and itself, and Nescafé instant coffee that ‘plays’ corporate international greed and itself. In addition, another student, Pat Forbes, plays herself, as does the art historian Griselda Pollock. Some of the varied soundtrack is composed in part from Biswas’s own written text spoken in Bengali (her mother tongue) and from the South African Bahumutsi Theatre Company, whose performance ‘The Hungry Earth’ Biswas had attended in Leeds.</p>\n<p>Biswas enacted the performance twice, filming it only once. The video of <i>Kali</i> – the artist’s first video work – exists, however, in two versions, either of which can be shown. The shorter version (25 minutes and 28 seconds) was first screened publicly at the Institute of Contemporary Arts, London, during the exhibition <i>The Thin Black Line</i>, curated by artist Lubaina Himid in 1985, and was also shown as part of Biswas’s degree show the same year at Leeds University. This version has credits and an explanatory introduction by Biswas in which she talks directly to camera; the narrative of the performance is edited to have a fast pace and directness of address. The other, longer version (36 minutes and 18 seconds) is informally identified by Biswas as <i>Kali / Raw</i>; it has no credits and employs editing techniques and shifts within the recorded soundtrack that communicate a heightened degree of dislocation and confusion to the viewer.</p>\n<p>For the introduction to <i>Kali</i>, Biswas sits in front of a painted Union Jack flag and a video editing suite, reading a text that she holds in front of her. She explains how the characters of the performance enact a mythic struggle of good over evil, and that this directly refers to ‘Imperialism, cultural domination and exploitation of the East by the West’ (in this respect Kali embodies the East and Raban the West). She also expresses how the performance and resulting videos were borne from her own ‘marginalisation and tokenisation as a black woman’ within the fine art department at Leeds University. Among the specific set of concerns that Biswas describes in her introduction, she also explains that the performance is ‘about performance itself. Who performs? Who spectates? It questions who is in control and who is not’.</p>\n<p>Key to the work is the participation of an invited tutor from Leeds University. A little after the performance starts the tutor is ushered into the space and invited to sit on a chair around which a circle is then painted on the floor to denote a territory; the tutor is also hooded with holes cut for eyes. In the filmed version of the performance the tutor was Griselda Pollock, who ran the ‘Theories and Institutions’ course at Leeds University at the time. As a student Biswas had challenged the basic tenets of this course, which mirrored the political concerns of the entire fine art department, for not engaging meaningfully with issues of race and colonialism when discussing gender and class. Biswas’s critique is addressed in <i>Kali</i> and was represented directly to Pollock. This interchange subsequently led Pollock to radically revise the art history syllabus.</p>\n<p>Pollock has described how, in <i>Kali</i>, she was not a witness or spectator but part of its subject and spectacle:</p>\n<p class=\"cttext\">\n</p><blockquote>The centre, British imperialism, was to be put on display and made to figure as part of the rituals of a contestation of its hegemony. Obliged to sit in the centre of a circle, hooded, though I could just see through the slits at eye level, I was made to function as an icon of imperialism around which Biswas’s enactments of resistance would be performed. Centred, yet made vulnerable by being deprived of the position of protected observer, I could not distance myself from the mythological representation of a historically conditioned struggle … Participant yet target, forced to hear and struggle to see meanings that silenced me, I was made witness to the making of another set of subjectivities, which exploded the oppositions ‘black/white, Indian/English’ in order to demand mutual recognition based on the mutuality or interdependency of subjectivities and meanings. <br/>(Griselda Pollock, ‘Tracing Figures of Presence: Naming Ciphers of Absence; Feminism, Imperialism and Postmodernity: The Work of Sutapa Biswas’, in Institute of International Visual Arts 2004, p.26.) </blockquote>\n<p>The varied use of sound and lighting in <i>Kali </i>illuminates and constructs narratives while also disrupting them and disorienting the viewer, reflecting the destabilisation of Pollock in the film. At times, in the longer video, there are sounds that suggest a railway, a symbolic reference to the Indian railway system and its role within colonial rule. At other moments, in both versions of the film, Biswas speaks Bengali, her mother tongue, in a way that engages with the politics and power of language. As she has explained, ‘the Bengali I speak is practiced and spoken in an English accent – in a disjointed way. Perhaps in the way a child learns to tell a tale in a language that is foreign to them, the act of telling the story reduced and simplified to its very basics, in order to ease / simplify the process of telling.’ (Email correspondence with Tate curator Andrew Wilson, 8 May 2012.) Additionally, in <i>Kali / Raw</i>, for long periods of time the lights are switched off and the screen is in darkness, creating an even greater sense of disorientation but also of anticipation.</p>\n<p>\n<i>Kali </i>was a formative work for Biswas, and the figure of Kali provided a useful subject for the artist at the time, also appearing in the painting <i>Housewives with Steak-Knives </i>1985 (Bradford Museums and Galleries, Bradford) which, like <i>Kali</i>, was made during her final year as a student at Leeds University. Kali was used by Biswas as a means of exploring the issues of race, gender, class and subjectivity that are outlined in the introductory section of the shorter version of <i>Kali</i>, and that are central to her work.</p>\n<p>\n<b>Further reading</b>\n<br/>Lubaina Himid, <i>The Thin Black Line</i>, exhibition catalogue, Institute of Contemporary Arts, London 1985.<br/>\n<i>Transforming the Crown: African, Asian and Caribbean Artists in Britain 1966–1996</i>, exhibition catalogue, Caribbean Cultural Center African Diaspora Institute, New York 1997.<br/>\n<i>Sutapa Biswas</i>, exhibition catalogue, Institute of International Visual Arts, London 2004.<br/>Eva Bentcheva, ‘Who Belongs in the New Art History? Exploring Cultural Boundaries in Sutapa Biswas’ Performance Artwork <i>Kali</i> (1984)’, <i>SOAS Journal of Postgraduate Research</i>, vol.6, 2014, www.soas.ac.uk/research/rsa/journalofgraduateresearch/edition6/file93898.pdf, accessed 10.5.2019.</p>\n<p>Andrew Wilson<br/>May 2012, revised November 2017 and April 2019</p>\n</div>\n", "display_name": "Summary", "publication_date": "2021-06-10T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Kali </i>documents a performance Biswas staged with Isabella Tracy. The artists play themselves and the characters Kali and Ravan from Hindu mythology. The film opens with an introduction from Biswas explaining that the characters of the performance enact a mythic struggle of good over evil. Kali represents a challenge to forces of ‘imperialism, cultural domination and exploitation of the East by the West’. As part of the performance, art historian Griselda Pollock sits on a chair wearing a hood. As a student, Biswas challenged Pollock for not engaging meaningfully with issues of race and colonialism while making space for discussion of gender and class. This exchange led Pollock to radically revise the Leeds University art history syllabus. Biswas notes, ‘I arrived and said: “You’ve got to change the course.” I was lucky because she listened’. </p>\n</div>\n", "display_name": "Display caption", "publication_date": "2023-11-28T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>John Gerrard’s <i>Sow Farm (Near Libbey, Oklahoma) 2009 </i>2009 is a digital projection that depicts a huge, unmanned, entirely computer-controlled agricultural complex set on the American Great Plains. Presented as a single screen projection, the pig farm, desolate and sprawling, is depicted with blank dispassion. Although based on photographs taken on location by the artist, the work itself has been painstakingly constructed by Gerrard and a number of collaborators over many months using Realtime 3D, a computer software that is used primarily in the video-gaming industry. Gerrard has developed a distinctive engagement with the possibilities of this software since his discovery of it in the late 1990s. Realtime 3D involves creating three-dimensional objects through the software and displaying them on a screen almost immediately. The computer-generated image is deemed to be ‘real time’ because the software renders it on screen without any delay time. </p>\n<p>Gerrard has described the process of making his works using Realtime 3D: ‘I take my camera, walk around this facility and take four or five thousand pictures of it. We use that to remake it as a 3D model which is then clad in photographs to make almost a three-dimensional photograph. What you produce is a piece of software, which is a set of instructions which are then executed to produce this vision.’ (Quoted in <i>Tate Shots</i> 2016, accessed 29 August 2018.) The results are eerie virtual portraits of real places which offer a strange and sometimes unsettling viewing experience. Speaking about <i>Sow Farm</i>, the artist has described the effect on the viewer:</p>\n<p class=\"cttext\">\n</p><blockquote>They look at this work and they think to themselves, ‘There’s something wrong with this scene or this world.’ What they feel, I think, is a slight sense of disorientation because they know that something is wrong but they can’t quite put their finger on it. It may look like a film, but in this world there is no lens-based record in that nothing has ever been recorded. In effect it’s a 3D model that is a real place remade as a real time virtual world.<br/>(Tate Shots 2016, accessed 29 August 2018.)</blockquote>\n<p>From the vantage point of an orbital camera moving at walking pace, the viewer is shown the arid, lifeless landscape of the pig farm through a three-hundred-and-sixty-degree circumnavigation, within a twenty-four-hour day. There are no signs of human involvement or activity and even the movement of the camera seems automated; this is ‘farming, post-human’ as Gerrard has described it (<i>Tate Shots</i> 2016, accessed 29 August 2018). He has commented on the way in which this technology enables him to work with time in atypical ways:</p>\n<p>\n</p><div class=\"tabbed-list-item\">\n<div class=\"left-block\">   </div>\n<div class=\"right-block\">In practical terms real-time allows me to work with actual time in a very rich and valuable way … The medium moves beyond the realm of consumable in a sense, and involves much more inhuman timescales, which cannot be watched like a film. It connects and intersects with other types of time, other types of endurance and other types of simultaneity.<br/>(Quoted in Bonaventura 2011, p.25.)</div>\n</div>\n<p>Gerrard has often depicted geographically remote industrial facilities that are a hidden part of contemporary networks of global production, the products of which are ubiquitous in daily life but whose origins or means of production are veiled. The critic Emily Hall has discussed the relationship between this content in Gerrard’s work and his means of production:</p>\n<p class=\"cttext\">\n</p><blockquote>[Gerrard’s] fine balance of concept, content, and material suggest a theme and variations on the theme of the virtual. The computer-generated landscapes bring to mind, of course, virtual worlds, video games, special effects – that is, ways of producing unrealities. Here the format manifests something quite real, albeit at the periphery of most of our worlds – the discomfort of this admission is part of the work’s impact – since for many of us, the arrival of food in our markets and the availability of oil are things we take on faith, if we think about them at all. Their existence remains provisional – whether in life, on a gallery wall, or on a computer chip.<br/>(Emily Hall, ‘John Gerrard, Simon Preston Gallery’, <i>Artforum,</i> February 2011, vol.49, no.6, p.230.)</blockquote>\n<p>\n<b>Further reading</b>\n<br/>Paul Bonaventura, ‘John Gerrard’, <i>Art Monthly</i>, October 2011, vol.350, pp.24–5.<br/>‘John Gerrard: Gaming Technology and Virtual Art’, <i>Tate Shots</i>, 9 September 2016, <a href=\"https://www.tate.org.uk/art/artists/john-gerrard-18965/john-gerrard-gaming-technology-virtual-art\">https://www.tate.org.uk/art/artists/john-gerrard-18965/john-gerrard-gaming-technology-virtual-art</a>, accessed 29 August 2018.</p>\n<p>Helen Delaney<br/>August 2013, updated August 2018 </p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-09-12T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "agricultural", "architecture", "cities, towns, villages (non-UK)", "countries and continents", "emotions, concepts and ideas", "falsehood", "farm", "formal qualities", "landscape", "Libbey", "machine age", "menace", "photographic", "places", "plain", "social comment", "society", "solitude", "universal concepts", "USA, Oklahoma", "visual illusion" ]

[ { "append_role_to_name": false, "date": "1916–2010", "fc": "Sylvia Sleigh", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/sylvia-sleigh-17050" } ]

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[]

[ "adults", "Alloway, Lawrence", "art critic", "arts and entertainment", "bead", "bracelet", "clothing and personal items", "curator / director", "drag", "dress: ceremonial/royal", "dress: fantasy/fancy", "individuals: male", "man", "marriage", "named individuals", "necklace", "objects", "pendant", "people", "portraits", "sex and relationships", "society", "veil", "wedding dress", "work and occupations" ]

[ { "append_role_to_name": false, "date": "1916–2010", "fc": "Sylvia Sleigh", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/sylvia-sleigh-17050" } ]

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[ { "artistRoomsTour": false, "dateText": "5 November 2016 – 31 August 2025", "endDate": "2025-08-31", "exhibitionLegs": [ { "dateText": "5 November 2016 – 5 February 2017", "endDate": "2017-02-05", "id": 9876, "startDate": "2016-11-05", "venueName": "Art Gallery of New South Wales (Sydney, Australia)", "venueWebsiteUrl": "http://www.artgallery.nsw.gov.au" }, { "dateText": "18 March 2017 – 16 July 2017", "endDate": "2017-07-16", "id": 10083, "startDate": "2017-03-18", "venueName": "Auckland Art Gallery (Auckland, New Zealand)", "venueWebsiteUrl": null }, { "dateText": "11 August 2017 – 4 February 2018", "endDate": "2018-02-04", "id": 10738, "startDate": "2017-08-11", "venueName": "Seoul Olympic Museum of Art (Seoul, South Korea)", "venueWebsiteUrl": null }, { "dateText": "24 March 2018 – 24 June 2018", "endDate": "2018-06-24", "id": 10739, "startDate": "2018-03-24", "venueName": "Yokohama Museum of Art (Yokohama, Japan)", "venueWebsiteUrl": null }, { "dateText": "13 July 2018 – 28 October 2018", "endDate": "2018-10-28", "id": 11700, "startDate": "2018-07-13", "venueName": "Kaohsiung Museum of Fine Arts (Kaohsiung, Taiwan)", "venueWebsiteUrl": null }, { "dateText": "10 November 2023 – 14 April 2024", "endDate": "2024-04-14", "id": 14116, "startDate": "2023-11-10", "venueName": "LWL-Landesmuseum für Kunst und Kulturgeschichte Westfälisches (Munster, Germany)", "venueWebsiteUrl": "http://landesmuseum.lwl.org" }, { "dateText": "23 November 2024 – 3 March 2025", "endDate": "2025-03-03", "id": 16283, "startDate": "2024-11-23", "venueName": "Worcester Art Museum (Worcester, USA)", "venueWebsiteUrl": "http://www.worcesterart.org" }, { "dateText": "1 April 2025 – 31 August 2025", "endDate": "2025-08-31", "id": 15578, "startDate": "2025-04-01", "venueName": "External", "venueWebsiteUrl": null } ], "id": 8136, "startDate": "2016-11-05", "title": "Nude: art from the Tate collection", "type": "Tate partnerships & programmes" }, { "artistRoomsTour": false, "dateText": "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" } ]

[]

[ "actions: postures and motions", "adults", "arm / arms raised", "body", "furnishings", "gender", "individuals: male", "lying down", "male", "man", "named individuals", "nudes", "objects", "people", "portraits", "quilt", "reclining", "Rosano, Paul", "sexual organs", "social comment", "society" ]

[ { "append_role_to_name": false, "date": "born 1945", "fc": "David Tremlett", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/david-tremlett-2064" } ]

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[]

[]

[ { "artistRoomsTour": false, "dateText": "12 April 2016 – 29 August 2016", "endDate": "2016-08-29", "exhibitionLegs": [ { "dateText": "12 April 2016 – 29 August 2016", "endDate": "2016-08-29", "id": 9648, "startDate": "2016-04-12", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 7926, "startDate": "2016-04-12", "title": "Conceptual Art in Britain: 1964-1979", "type": "Exhibition" } ]

[]

[]

[ { "append_role_to_name": false, "date": "born 1937", "fc": "Dóra Maurer", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/dora-maurer-1597" } ]

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[]

[ { "archiveItemCount": 1, "id": 184, "level": 1, "name": "abstraction", "parent_id": 1, "workCount": 8614 }, { "archiveItemCount": 5302, "id": 29, "level": 1, "name": "emotions, concepts and ideas", "parent_id": 1, "workCount": 11114 }, { "archiveItemCount": 3599, "id": 6729, "level": 2, "name": "formal qualities", "parent_id": 29, "workCount": 8855 }, { "archiveItemCount": 214, "id": 226, "level": 3, "name": "geometric", "parent_id": 185, "workCount": 2858 }, { "archiveItemCount": 97, "id": 796, "level": 3, "name": "irregular forms", "parent_id": 185, "workCount": 1910 }, { "archiveItemCount": 1, "id": 185, "level": 2, "name": "non-representational", "parent_id": 184, "workCount": 6160 }, { "archiveItemCount": 122, "id": 9328, "level": 3, "name": "photographic", "parent_id": 6729, "workCount": 4551 }, { "archiveItemCount": 54, "id": 8577, "level": 3, "name": "texture", "parent_id": 6729, "workCount": 412 }, { "archiveItemCount": 623, "id": 4312, "level": 3, "name": "time", "parent_id": 30, "workCount": 56 }, { "archiveItemCount": 3955, "id": 30, "level": 2, "name": "universal concepts", "parent_id": 29, "workCount": 2432 } ]

[ { "artistRoomsTour": false, "dateText": "5 August 2019 – 24 January 2021", "endDate": "2021-01-24", "exhibitionLegs": [ { "dateText": "5 August 2019 – 24 January 2021", "endDate": "2021-01-24", "id": 12856, "startDate": "2019-08-05", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 10592, "startDate": "2019-08-05", "title": "Dóra Maurer", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Timing</i> 1973/1980 is a 16mm black and white silent film transferred to Digibeta. It is ten minutes long. The film starts with an image of a white, rectangular cloth with creases visible where it has been folded. In the following sequences the cloth is shown being folded – at first only once, before being unfolded and shown at full size again. Successive shots repeat this action, adding an additional fold and then returning to the open position before adding yet another fold, until the cloth cannot be folded further. Each movement has the same duration. This sequence of seven folds is then repeated in numerous different takes, filmed using a camera masking technique, where alternating portions of the film stock are exposed. The resulting image is a composite of multiple performances of the activity, inevitably unsynchronised in their timings despite their attempt at uniformity. Appearing to divide the frame into two, then four and then eight parts, the composite image mirrors the act of folding. As the cloth is folded, it unveils the presence of the artist, who is holding it. Her black silhouette is almost invisible and it is only her palms which mark her participation in the action. The double dating of the film indicates the year when the artist started to work on the idea (1973) and the date of the actual realisation of the work (1980). Tate’s work is number four in an edition of five. </p>\n<p>The work began as an expanded cinema performance, which the artist has described: ‘Turning towards the audience, I unfold the canvas used while shooting the film, nail it on the wall and, with precise overlapping, I project the film image onto it. After the screening I take off the canvas and fold it again’ (Maurer 2011, p.46). The canvas she refers to is a white bedsheet cut to the 4:3 aspect ratio of the 16mm film frame and proportioned to correspond to the width of the artist’s arm span, introducing a biometric element to the work. Though the film can be projected onto a wall, the ideal way to display the work is by projecting it onto the white cloth depicted in the film, with the cloth nailed to a wall in a darkened space. In these expanded presentations of <i>Timing</i>, the use of the cloth as a projection screen means that this aspect of the apparatus is not only given a central place within the projected image but also acts as a physical base and frame for the film, its grid of creases causing noticeable distortions to the projection. This is significant because it emphasises the materiality of the projection surface, which is generally meant to disappear behind the image it supports, like a painter’s canvas or printmaker’s plate. <i>Timing</i> can thus be seen as part of a broader impulse in Maurer’s work towards medium specificity. In <i>Seven Foldings</i> 1975 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/maurer-seven-foldings-p77124\" title=\"View the details of this artwork\"><span>P77124</span></a>), for example, the formal properties of the work also relate to its physical base.</p>\n<p>It is the passage of time, measured with the changing proportions of the white cloth, which gives the film its title. The artist has described the work as follows: ‘Time is measured by folding a piece of white linen in front of a black background: I fold it altogether seven times, one more fold each time, always starting anew.’ (Maurer 2011, p.46.) The film represents Maurer’s preoccupation with alternating proportions, the leaving of traces, and movement in what she has called ‘a strict system of displacement’ (Dóra Maurer, interview with Cassandra Edlefsen Lasch, unpublished manuscript, 27 May 2013, Vintage Galeria archive, Budapest). Repetition of activities, be it folding, overlapping, distortion or rotation, is a characteristic feature of Maurer’s practice, spanning all the media she uses. Her approach is underpinned by a systematic principle of tracing subtle differences and achieving complex results with basic means. In the case of <i>Timing</i>, the simplicity of the idea behind the film allowed the artist to prepare its script with rigorous precision. The durations and lengths of the movement sequences were carefully prescribed. The execution was so deliberate and focused that the footage required no editing. Experimenting with the process of art production and the challenging of perception form an important part of Maurer’s methodology. </p>\n<p>Maurer frequently performs in her films and photographs, staging situations or conducting the documented actions (see <i>Parallel Lines, Analyses </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/maurer-parallel-lines-analyses-t14289\" title=\"View the details of this artwork\"><span>T14289</span></a>). In doing so, she becomes simultaneously the active producer or spectator and the observed subject, exploring the relativity of individual perception. Maurer’s basic experiment with the structural features of the medium leads to a result which is at once transparent and logical, while challenging to the viewer’s understanding of the image. Commenting on <i>Timing</i>, the art historian and curator László Beke has written:</p>\n<p class=\"cttext\">\n</p><blockquote>\n<i>Timing</i> … stands on the crossroad of all the works [Maurer] has produced. It is a ‘displacement’ like so many of her works, but this is only a modest aspect of the film. Here one is folding a canvas into two, into four … into thirty-two – until it becomes impossible to fold it. But we must not forget that this canvas is the same proportion of the cinema screen, and the metaphor ‘the canvas of the painter = the canvas of the filmmaker’ is emphasized by the fact that while the canvas is folded, the screen is also dividing itself (and shrinking).<br/>(Quoted in Maurer 2011, p.47.)</blockquote>\n<p>Maurer, who trained as a graphic artist, initially worked mainly in printmaking (see, for example, <i>Traces of a Circle </i>1974, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/maurer-traces-of-a-circle-p77125\" title=\"View the details of this artwork\"><span>P77125</span></a>). Since the late 1960s her practice has also incorporated photography and film (see <i>Relative Swingings</i>1973, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/maurer-relative-swingings-t14285\" title=\"View the details of this artwork\"><span>T14285</span></a>, and <i>Triolets </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/maurer-triolets-t14286\" title=\"View the details of this artwork\"><span>T14286</span></a>). She has been a major figure in the Hungarian art scene since the 1970s, both through her art and her influence as a professor at the Hungarian Fine Arts Academy, where she began teaching in 1990.</p>\n<p>\n<b>Further reading</b>\n<br/>Dóra Maurer, <i>Filmek/Films 1973–83</i>, trans. Komárik Vera, Pécs Gallery, Pécs 1983, pp.12–13.<br/>Dóra Maurer (ed.), <i>Dóra Maurer: Traces 1970–1980</i>, Krakow 2011.<br/>Zoltán Prosek (ed.), <i>Maurer Dóra: Folded Time – Film Retrospective</i>, Rómer Flóris Art and History Museum, Gyor 2018, pp.104–7.</p>\n<p>Kasia Redzisz<br/>January 2014<br/>Carly Whitefield<br/>January 2019</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-03-28T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "abstraction", "emotions, concepts and ideas", "formal qualities", "geometric", "irregular forms", "non-representational", "photographic", "texture", "time", "universal concepts" ]

[ { "append_role_to_name": false, "date": "born 1937", "fc": "Dóra Maurer", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/dora-maurer-1597" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Relative Swingings</i> 1973 is a composite of two 16mm black and white films printed in unequal proportion to a single 35mm film with sound and later transferred onto Digibeta. It is eleven minutes long. The two reels of film comprising the final image were shot simultaneously on two cameras: Maurer designated one the ‘active’ camera – participating in a sequence of filming exercises; and the other the ‘passive’ camera – documenting these exercises from a stationary position at a short distance. The exercises are divided into three parts. The first sequence involves various combinations of movement between a suspended conical lamp and the active camera situated in front of it. In the second sequence, the active camera is placed under the lamp and films its round contour, which is seen on the screen as a circular shape moving dynamically across the black background. The last part of the film shows a paper cylinder suspended on a small platform and lit from different angles by the lamp above as different combinations of movement among the three elements are recorded. </p>\n<p>The footage from the active camera reveals the peculiar movements of the objects and shadows resulting from these exercises, while the footage from the passive camera shows how each representation was created. In the composite film this documentation appears in a smaller frame for a few seconds towards the end of each exercise. By allowing viewers to see the footage from the active camera first, Maurer prompts viewers to guess which and how the elements were moving in each variation before revealing the mechanism. The film’s soundtrack consists of the noises made by the swinging lamp or moving camera. The camera operator was János Gulyás and the sound effects are by Zoltán Jeney. Tate’s copy is number four in an edition of five. The two sets of footage produced from the cameras were initially edited for double projection. Maurer showed the work in this form several times in 1973 until she was encouraged to print the two films into a single 35mm film for ease of distribution. </p>\n<p>The film was produced by the Béla Balázs Studio (BBS). The BBS was a Hungarian state-sponsored organisation that began as a film club in 1958 as a film studio that worked both inside and outside the structure of Socialist state film production. In 1973, the year after Maurer first started sketching plans for <i>Relative Swingings</i>, the BBS announced a ‘Film Language Series’ and opened its doors for representatives of different art disciplines to investigate the tools of expression in cinema. These decisions turned the BBS into a centre of experimentation, with Maurer working under its umbrella alongside many other conceptual artists of the time. Devised for the ‘Film Language Series’, <i>Relative Swingings</i> is an experiment in the analysis of the relativity of the movement seen on the screen. Curator and critic László Beke has described the film as follows:</p>\n<p class=\"cttext\">\n</p><blockquote>In <i>Relative Swingings</i>… we witness the relativisation of meaning related to motion. The leitmotif of the film is a lamp hanging from the ceiling. The ‘action’ is given by the swinging or still standing of the lamp – in relation with the standing or moving camera. We can easily imagine all the variations, from the ‘unmoved lamp + unmoved camera = unmoved image’ through ‘unmoved lamp + swinging camera = swinging image’ up to ‘swinging lamp + swinging camera = unmoved image’.<br/>(László Beke, ‘Objective Tenderness’, in Dieter Ronte and Laszlo Beke (eds.), <i>Dóra Maurer: Arbeiten, Munkak, Works 1970–1993</i>, Budapest 1994, pp.87–8.)</blockquote>\n<p>Beke’s description stresses features that are typical of Maurer’s work – the exploration of repetitive movement, its variations, and the different combinations of a set of gestures. The work also uses sound in a way that is characteristic of other films by the artist. The amplified sound of a swinging lamp and a moving camera fulfils the structural role of integrating both images on the screen. By juxtaposing the footage from two cameras, the artist unveils the act of making a film, exposing cinematic mechanisms and tricks by showing the process alongside the visual effect it generates. <i>Relative Swingings</i> is an analysis of the language of film and the potential of the medium. The film allows for prediction and anticipation as well as continual surprise.</p>\n<p>Maurer, who trained as a graphic artist, initially worked mainly in printmaking (see, for instance, <i>Seven Foldings </i>1975, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/maurer-seven-foldings-p77124\" title=\"View the details of this artwork\"><span>P77124</span></a>, and <i>Traces of a Circle </i>1974, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/maurer-traces-of-a-circle-p77125\" title=\"View the details of this artwork\"><span>P77125</span></a>). Since the late 1960s her practice has also incorporated photography and film (see <i>Timing </i>1973/1980, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/maurer-timing-t14284\" title=\"View the details of this artwork\"><span>T14284</span></a>, and <i>Triolets </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/maurer-triolets-t14286\" title=\"View the details of this artwork\"><span>T14286</span></a>). She has been a major figure in the Hungarian art scene since the 1970s, both through her art and her influence as a professor at the Hungarian Fine Arts Academy, where she began teaching in 1990.</p>\n<p>\n<b>Further reading</b>\n<br/>Dóra Maurer, <i>Filmek/Films 1973–83</i>, trans. by Komárik Vera, Pécs Gallery, Pécs 1983, pp.12–13.<br/>Dóra Maurer (ed.), <i>Dóra Maurer: Traces 1970–1980</i>, Krakow 2011.<br/>Zoltán Prosek (ed.), <i>Maurer Dóra: Folded Time – Film Retrospective</i>, Rómer Flóris Art and History Museum, Gyor 2018, pp. 104–7.</p>\n<p>Kasia Redzisz <br/>January 2014<br/>Carly Whitefield<br/>January 2019</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-03-28T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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