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[ { "append_role_to_name": false, "date": "born 1939", "fc": "Yun Suknam", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/yun-suknam-22826" } ]

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

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Being Restricted I</i> 1995 consists of a chair, a painted wooden panel and a piece of black rope. Both the chair and wooden panel are reclaimed objects that have been altered by the artist. Yun added metal nails to the chair’s upholstered seat and the bottom end of each leg. Punctured by spikes and standing precariously on talons, the otherwise ornate chair is rendered functionless and threatening. A female figure, painted on reclaimed wood, stands to the right of the chair. The figure is nearly two metres tall, with an arm suggested by another curved chair leg, a mannequin’s hand and two roughly triangular white shapes attached to the bottom edge so that she seems to be standing on tiptoe. A black rope laid on the ground demarcates a rectangular area; the chair sits within the space, while the female figure has one foot inside and one foot outside the rope. The three elements of the work can be installed in different configurations depending on the dimensions of the gallery space. For instance, the chair can be positioned on the left or right of the figure and the area defined by the rope reconfigured each time. The work’s title relates to both the physical confines created by the rope and the artist’s personal experience of feeling restricted as a woman in her native Korea. Yun made a second work with the same title, <i>Being Restricted II</i> 1996, which is a larger installation with a hanging figure.</p>\n<p>Since her first solo exhibition in 1982 Yun has been interested in depicting ordinary women in her paintings and works on paper. The figure of the artist’s mother appeared in many of her works and became the most important subject of her work in the 1980s and early 1990s. Her mother’s personal history corresponded with the turbulent moments of Korea’s recent history. Her struggle as a working class widow resonated with – and stood in for in Yun’s work – many women’s experiences as mothers, daughters and wives in the period after the Korean War (1950–3). Marginalised by the patriarchal culture, her mother’s generation were expected to give birth to sons, raise children and remain as housewives without being recognised as equal partners in a household. Working class women like Yun’s mother often had to earn a living on top of full-time jobs as housewives and Yun often depicted such women as street market vendors holding small children, just as her mother did. Yun’s engagement with women’s issues in relation to class struggle led her to be active in the political Minjung art movement that emerged in South Korea in the 1980s, and she participated in a number of exhibitions addressing such issues, such as <i>Women and Reality</i> at Geurim Madang Min, Seoul (1992), and <i>15 Years of Minjung Misul, 1980–1994</i> at the National Museum of Contemporary Art, Gwacheon (1994).</p>\n<p>In the early 1990s Yun began to work with reclaimed wooden panels that she found on waste grounds or discarded on the street. After returning to Korea following a two-year stretch in the United States between 1988 and 1990, Yun began to carve and paint discarded pieces of wood, creating sculptural objects that depicted female figures. This sculptural exploration led her to experiment with the medium of installation, resulting in a series of room installations titled <i>Pink Room</i> in 1996. In parallel with this work she began to transform seemingly ordinary pieces of furniture, such as sofas and chairs, into subversive objects by inserting extremely pointed metal nails. These works, which were less representational than her earlier paintings, explored gender, desire and restrictions placed on women – issues that were not confined to the older generation or working class women and that responded to the changing role of women in the increasingly affluent yet still conservative society of South Korea.</p>\n<p>Yun has confirmed that the figure in <i>Being Restricted I</i> is effectively a self-portrait (Yun Suknam in an email to Tate curator Sook-Kyung Lee, 30 March 2015). The use of a second-hand chair in this work is also typical of her practice at the time. The chair is mock-baroque, a style fashionable in Korea in the 1990s as a symbol of Western taste and affluence. In an interview with the poet Kim Hye-Soon in 2003, Yun explained:</p>\n<p class=\"cttext\">\n</p><blockquote>I cannot but use everyday items in my work, because my works are about everyday stories. A chair is a good example. Where a woman spends most of her time at home is in the kitchen, where the dining table is. But do women enjoy a meal sitting down on a chair by the dining table? Women certainly hover about the kitchen, but they are actually absent there. I did the ‘chair’ works to tell the story about this absence and the precariousness of women’s place.<br/>(Quoted in Beck Jee-Sook 2009, p.55.)</blockquote>\n<p>In Yun’s work the chair becomes even more of a precarious, or even dangerous, place as a result of the metal nails that spike up through the upholstered seat from underneath. These nails can also be read as indicative of feminine desire that is hidden and suppressed but nonetheless present and ready to emerge.</p>\n<p>\n<b>Further reading</b>\n<br/>Beck Jee-Sook (ed.),<i> Pink Room, Blue Face – Yun Suknam</i>, Seoul 2009.<br/>\n<i>Korean Contemporary Art Book 017: Yun Suknam</i>, Seongnam-si, Gyeonggi-do 2013.</p>\n<p>Sook-Kyung Lee<br/>March 2015</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-03-08T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1963", "fc": "Catherine Yass", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/catherine-yass-2386" } ]

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

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[ { "artistRoomsTour": false, "dateText": "11 February 2012 – 11 November 2012", "endDate": "2012-11-11", "exhibitionLegs": [ { "dateText": "11 February 2012 – 11 November 2012", "endDate": "2012-11-11", "id": 7279, "startDate": "2012-02-11", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 5953, "startDate": "2012-02-11", "title": "Catherine Yass", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>High Wire</i> is a room-sized video installation consisting of four projections and two lightboxes. Filmed at Red Road, a high-rise housing complex in Glasgow, it shows the noted French tightrope walker Didier Pasquette attempting to cross from one tower to another over a thin metal wire at a height of 90 metres. The large projections occupy the four walls of the space in which the work is exhibited, offering different views of the event. One shows a long view of the two tower blocks against the distant landscape, highlighting the dominance of the high-rise in its urban context. The second projects footage filmed from the top of one tower, the camera shifting shakily between the roof itself and the line of wire. The third and fourth projections offer further views of the rooftop, one from a distance and one close up. As the films begin Pasquette enters the frame, stepping off a small platform down to the level of the wire. A camera is strapped onto his helmet, revealing the source of the eagle-eye view of the scene, and captures a sweeping, panoramic view to the left, then to the right. It then catches glimpses of Pasquette unclasping his hands and feet, and calmly and purposefully lifting the long pole prepared for him to aid his balance. As he sets off into the void, Pasquette looks down, and his head-camera view provides a reeling, vertiginous sensation. He moves with precision and grace, carefully touching the wire with his toes before resting each foot on it. One third of the way along the wire, Pasquette stops and appears to be in trouble, with the rope shaking beneath him. Retaining his focus, he steps backwards, fast and composed, and in a few seconds he reaches the roof again, his crossing frustrated.</p>\n<p>\n<i>High Wire</i> was made by the British artist Catherine Yass in 2008. It continues a preoccupation, seen in Yass’s earlier work, with architecture and urban systems, in particular the ways in which they can convey wider social and political concerns (see, for instance, her 1994 series <i>Corridors</i>, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/yass-corridors-t07065\" title=\"View the details of this artwork\"><span>T07065</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/yass-corridors-t07072\" title=\"View the details of this artwork\"><span>T07072</span></a>, and <i>Descent</i> 2002, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/yass-descent-t13569\" title=\"View the details of this artwork\"><span>T13569</span></a>). The choice of Red Road was originally a practical one, but it came to symbolise the aspirations of an apparently misconceived architectural utopia. Built in 1964–9 as part of Glasgow City Council’s slum clearance project, Red Road was the tallest residential building complex in Europe at the time. Inspired by the utopian ideas of the architect Le Corbusier (1887–1965), this dream of a brighter future was embraced by the local community. Yet a rise in crime and gang violence, bad maintenance, and perhaps a lack of a sense of ownership and engagement due to the scale of the complex, made residents feel vulnerable and insecure. Red Road became emblematic of the ill-fated housing ambitions seen across Britain in this period. In 2005, three years before Yass made <i>High Wire</i>, Glasgow Housing Association announced a £60 million regeneration plan for Red Road, slating the towers for demolition, to be replaced by around 600 low-rise private and council homes.</p>\n<p>\n<i>High Wire</i> found an immediate resonance within this context, which for some exemplified the failure of the modernist utopian project, and in the installation this is paired with the frustrated attempts by Pasquette to realise his own dream. As Yass stated in 2008:</p>\n<p class=\"cttext\">\n</p><blockquote>\n<i>High Wire</i> is a dream of walking in the air, out into nothing. But it has an urban background and the high-rise buildings provide the frame and support. The dream of reaching the sky is also a modernist dream of cities in the air, inspired by a utopian belief in progress. Every time I see Didier turning back I remember hearing him shout, from where I was standing on another rooftop, ‘C’est pas possible!’ But something was possible, he returned safely. And something emerged from the actuality of the walk, which was a moment when reality became more of a dream than the dream itself.<br/>(Quoted in Glasgow International Festival of Contemporary Visual Art 2008, p.94.)</blockquote>\n<p>Yass’s four-screen video installation is accompanied by two photographic works of the same sky walk, printed as black and white negatives and presented on lightboxes. While the videos elicit an empathetic, almost physical response from the viewers, the grey, backlit landscape of the lightboxes presents a world that is unfamiliar and distant.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Catherine Yass:</i> <i>High Wire</i>, exhibition catalogue, Glasgow International Festival of Contemporary Visual Art, London and Glasgow 2008.</p>\n<p>Sofia Karamani<br/>October 2011</p>\n</div>\n", "display_name": "Summary", "publication_date": "2017-01-20T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1927–1968", "fc": "Ken Cox", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/ken-cox-22886" } ]

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

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Three Graces (Amor-Voluptas-Pulchritudo)</i> 1966−8, by the British artist Ken Cox, comprises three two-metre-high towers consisting of painted metal capital letters attached horizontally to a revolving spindle. Each tower and its letters is painted a different colour, from left to right: red, orange and plum. The letters on each tower make up a Latin word, again from left to right: ‘Voluptas’ (passion), ‘Amor’ (love) and ‘Pulchritudo’ (beauty), as reflected in the subtitle of the work. The right hand tower stands a little taller than the other two and is the same height as the painted backboards installed against the wall behind the towers. The backboards also bear painted graphic representations of the same words. The composition of these overlapping yet static letters provides a counterpoint to the moving letters and words they form in the towers. Each tower also rotates at different speeds and in varying helical movements. This serves to enact an exchange between each of the three graces: passion, beauty and love.</p>\n<p>The work occupied Cox for almost two years between 1966 and 1968. It treated a theme that he also addressed in a related work, <i>The Three Graces (Love, Beauty, Passion)</i>, which was commissioned for the presentation of concrete poetry as part of the Brighton Arts Festival in 1967. For this piece he constructed three word towers mounted onto a triangular structure moored to a buoy in the sea off Brighton Beach. The towers were triangular and spelled out, in English, ‘Love’, ‘Beauty’ and ‘Passion’, and from a distance the words appeared to be unsupported and to dance in the waves. After ten days the work was destroyed in a storm. Cox was developing the <i>Three Graces </i>mechanical sculpture while he worked on this commission, and he later started to make a smaller mobile version of <i>Three Graces</i>, consisting of suspended three-sided columns of letters. The week before his solo exhibition opened at the Lisson Gallery in London in 1968, Cox explained to the critic Elizabeth Glazebrook that:</p>\n<p class=\"cttext\">\n</p><blockquote>One of my recurrent themes for the last 18 months or so, is that of the Three Graces – Beauty, Love and Passion. I’ve been interested in the associated symbolism. Voluptas, Pulchritudo, Amor – classically these words are felt to move in a relationship to each other, in a set pattern, and the movement – which is Botticelli’s <i>Prima Vera</i>, is implied between the figures, symbolism important – love being passion inspired by beauty – implied in movement of Botticelli. I don’t know whether [art historian Bernard] Berenson actually twigged this but people since him have felt the pagan symbolism there – Passion or Voluptas turns into towards Amor and Amor transfers Passion to Beauty and Beauty transfers, or reinforces with this kind of fire by gesturing back to Amor again.<br/>(Transcript from a recorded interview between Elizabeth Glazebrook and Ken Cox, 1 June 1968, held by the artist’s estate.)</blockquote>\n<p>Cox’s use of movement in this and similar smaller works suggests that meaning is not only in flux but is also enacted as an exchange between different states or words. In this case, the static two-dimensional and dynamic three-dimensional change in visibility and legibility as the three words fold into each other. This shifting construction of meaning exemplified for Cox the figure of Venus:</p>\n<p class=\"cttext\">\n</p><blockquote>The embodiment of the interaction between three parts, passion, love and beauty – all constantly changing yet remaining fundamentally the same. AMOR the unifying influence, that which unites the changing, unpredictable elements in VOLUPTAS and PULCHRITUDO – the graces are dancing figures, turning and interweaving, exchanging symbolic gestures – love as passion fired by beauty. Voluptas swings towards Amor, Amor transfers the gesture to Pulchritudo, Pulchritudo returns the gesture to Amor and thus returns to Amor the fire which originally came from Voluptas. Amor reinforced by Pulchritudo becomes the only possible link between the other two elements.<br/>(Artist’s statement in Jasia Reichardt (ed.), <i>Cybernetic Serendipity</i>, exhibition catalogue, Institute of Contemporary Arts, London 1968, p.51.)</blockquote>\n<p>In <i>Three Graces </i>the tower that reads Amor is positioned between the other two and rotates at a constant speed as a double helix, the effect being a unification of the three towers into a single tableau. Voluptas, to its left, has the letters attached to the spindle on eight spatial free-running rotors controlled by an electronic program that repeats every two hours. Pulchritudo, to the right of Amor, is the tallest tower, and each of its eleven spindles of letters is controlled by a separate motor so that the whole moves slowly and intermittently. The programming required by the work led to its inclusion in the exhibition <i>Cybernetic Serendipity</i> at the Institute of Contemporary Arts (ICA), London, in 1968 (mounted at the same time as Cox’s solo exhibition at the Lisson Gallery). In response to the ICA exhibition the Brazilian poet E.M. de Melo e Castro described Cox as a ‘cyberneticist’, which he defined as an artist who works ‘with the materials that the world has always offered them but who today transform them into signs of a rediscovered and independent language. For that they take advantage of a demystified technology’ (E.M. de Melo e Castro, ‘Ken Cox – A Cyberneticist’, <i>Diário de Lisboa: Suplemento Literário</i>, Lisbon, 6 February 1969, pp.1, 6).</p>\n<p>When <i>Three Graces </i>was exhibited in <i>Cybernetic Serendipity</i> in 1968, the triangular stands for each tower were encased in a single plinth; however, Cox preferred the work to be completely freestanding within the viewer’s space, with the bases completely visible.</p>\n<p>\n<b>Further reading</b>\n<br/>Dom Sylvester Houédard, <i>Ken Cox: Kinetic Poems</i>, exhibition catalogue, Lisson Gallery, London 1968.<br/>\n<i>Ken Cox: Memorial Exhibition</i>, exhibition catalogue, George Room and College of Art, Stroud 1969.<br/>\n<i>Ken Cox: Celebrating a Life’s Work 1927–1968</i>, exhibition catalogue, Under the Edge Arts, Wotton-under-Edge 2007, unpaginated, reproduced.</p>\n<p>Andrew Wilson<br/>April 2015</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-02-12T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1810–1844", "fc": "Theodor von Holst", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/theodor-von-holst-572" } ]

[ { "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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[ { "artistRoomsTour": false, "dateText": "12 September 2012 – 31 January 2014", "endDate": "2014-01-31", "exhibitionLegs": [ { "dateText": "12 September 2012 – 13 January 2013", "endDate": "2013-01-13", "id": 5400, "startDate": "2012-09-12", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" }, { "dateText": "10 June 2013 – 22 September 2013", "endDate": "2013-09-22", "id": 5342, "startDate": "2013-06-10", "venueName": "State Pushkin Museum of Fine Arts (Moscow, Russia)", "venueWebsiteUrl": null } ], "id": 4474, "startDate": "2012-09-12", "title": "Pre-Raphaelites: Victorian Avant-Garde", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "17 February 2013 – 31 August 2014", "endDate": "2014-08-31", "exhibitionLegs": [ { "dateText": "10 June 2013 – 13 October 2013", "endDate": "2013-10-13", "id": 5709, "startDate": "2013-06-10", "venueName": "State Pushkin Museum of Fine Arts (Moscow, Russia)", "venueWebsiteUrl": null } ], "id": 4745, "startDate": "2013-02-17", "title": "Pre-Raphaelites: Victorian Avant-Garde", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "7 August 2014 – 24 July 2022", "endDate": "2022-07-24", "exhibitionLegs": [ { "dateText": "7 August 2014", "endDate": null, "id": 8918, "startDate": "2014-08-07", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 7312, "startDate": "2014-08-07", "title": "Gallery 9", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Born in London in 1810 to Latvian parents who had recently emigrated from Riga, Theodor von Holst came to occupy a unique position in British art, providing the link between earlier Romantic artists and the Pre-Raphaelites. After studying with Henry Fuseli at the Royal Academy, and encouraged by Thomas Lawrence, von Holst went on to produce illustrations to Goethe’s <i>Faust</i>, Fouquet’s <i>Undine</i> and Dante’s <i>Inferno</i>. Working mainly in isolation, the artist only achieved recognition towards the end of his short career with his large prize-winning biblical composition <i>The Raising of Jairus’s Daughter</i> 1841 (now lost), and a series of female heads that included <i>The Bride</i>, his most popular painting.</p>\n<p>\n<i>The Bride</i> takes its subject from Percy Bysshe Shelley’s poem ‘Ginevra’ (1821) in which a Florentine girl is forced to marry an elderly nobleman. After saying farewell to her young lover for the last time following the wedding ceremony, she is later found dead on her bridal bed. The illustrated lines (9–12) appear in the opening stanza of the poem:</p>\n<p class=\"cttext\">\n</p><blockquote>Ginevra from the nuptial altar went;<br/>The vows to which her lips had sworn assent<br/>Rung in her brain still with a jarring din,<br/>Deafening the lost intelligence within.</blockquote>\n<p>Against a brilliant gold background reminiscent of religious icons, the forlorn bride is shown idly toying with a lock of hair as she leans dejectedly against the ledge of a window. A bas-relief Cupid with bat wings points his arrow in her direction as if mocking her tragic predicament, as does the jasmine that decorates the edge of the composition. The ruby gem which doubles up as the eye of a serpent on the bracelet around her wrist strikes a grotesque note, hinting at temptations and dangers that lie ahead. The casement format recalls early Italian and Netherlandish painting as well as the revivalist portraiture of the Nazarenes. In terms of the woman’s attitude and rather sulky expression, the picture has been compared to Leonardo da Vinci’s portrait <i>Ginevra de’ Benci</i> 1474–8 (National Gallery of Art, Washington). Like the Ginevra in von Holst’s painting, this sitter was known to have married an older man and was also the focus of poems composed in her honour.</p>\n<p>The subject of <i>The Bride</i> seems to have been one of personal significance to von Holst, perhaps due to of his own unhappy relationship with the model Amelia Thomasina Symmes Villard, whom he had married in August 1841. This may help explain why the artist made three versions of the image: an earlier experimental picture; the present painting exhibited at the British Institution in 1842 and purchased for the Stafford collection by the Duchess of Sutherland; and a larger copy commissioned by Lord Lansdowne which was known to have hung in the breakfast room of his house in Berkeley Square, London.</p>\n<p>Following the artist’s premature death in 1844, a younger generation of artists took up some of the themes and stylistic elements of his work, attracted by von Holst’s gothic imagination and penchant for scenes of erotic fantasy. Art historian Max Browne has unravelled the different routes through which Alexander Munro, William Bell Scott, John Everett Millais, Arthur Hughes and Dante Gabriel Rossetti discovered von Holst’s paintings and drawings. Rossetti shared von Holst’s passion for writers such as Goethe, Dante and Meinhold. He also possessed a sketchbook by the artist, which would help explain why Rossetti’s early pen and ink drawings are strikingly similar in style and in the way that they avoid natural elements in favour of imaginative motifs. A watercolour sketch of <i>The Bride</i> in a reverse pose discovered in one of Munro’s notebooks has recently been attributed to Rossetti and was probably a sketch from memory of the original he first saw in Stafford House, London, then a quasi-public collection. In his supplementary chapter to Alexander Gilchrist’s <i>Life of William Blake</i> (published in 1863), Rossetti described seeing the painting hanging there: ‘a most beautiful work by him – a female head or half figure’ (Rossetti in Alexander Gilchrist, <i>Life of William Blake</i>, volume 1, London 1863, p.379). The deep impression this work made on Rossetti came to influence his own half-figure portraits of sensuous women posed in decorative interiors, from <i>Bocca Baciata</i> 1859 (Museum of Fine Arts, Boston) onwards.</p>\n<p>Millais would have seen von Holst’s work in the collection of his first patron, the barrister, collector and dealer Ralph Thomas, who owned the finest collection of drawings by von Holst. Millais was also acquainted with the Lansdowne household and presumably familiar with the copy that hung in Berkeley Square. It is likely that this version inspired Millais’s painting <i>The Bridesmaid</i> 1851 (Fitzwilliam Museum, Cambridge), and may have also influenced his enigmatic female portraits of the mid-1850s.</p>\n<p>\n<b>Further reading</b>\n<br/>Max Browne, <i>Theodor von Holst: His Art and the Pre-Raphaelites 1810–2010</i>, exhibition catalogue, Holst Birthplace Museum, Cheltenham 2010, pp.50–1.<br/>Max Browne, ‘New Evidence of Rossetti’s Admiration for Theodor von Holst (1810–44)’, <i>British Art</i> <i>Journal</i>, vol.12, no.2, Autumn 2011, pp.3–8.<br/>Tim Barringer, Jason Rosenfeld and Alison Smith, <i>Pre-Raphaelites: Victorian Avant-Garde</i>, exhibition catalogue, Tate Britain, London 2012, p.28.</p>\n<p>Alison Smith<br/>October 2015</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-01-25T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Von Holst became a student of the Royal Academy at the age of 14 and was a favourite pupil of Henry Fuseli. He developed into a prolific literary painter until his untimely death from liver disease at the age of 33. Von Holst is often regarded as the link between early romantic British painters and the Pre-Raphaelite Brotherhood. Rossetti described him as a ‘great painter’ and considered <i>The Bride </i>to be his masterpiece. The painting represents the forlorn bride from Shelley’s poem <i>Ginevra</i>. She was a Florentine girl who, forced to marry an elderly nobleman, died on her wedding day.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2016-11-15T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "actions: postures and motions", "adults", "architecture", "emotions and human qualities", "emotions, concepts and ideas", "features", "head in hand / hands", "Italian", "literature and fiction", "literature (not Shakespeare)", "marriage", "nationality", "people", "sadness", "sex and relationships", "Shelley, Percy Bysshe, ‘Ginevra’, 1821", "society", "window", "woman" ]

[ { "append_role_to_name": false, "date": "born 1980", "fc": "Ruth Ewan", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/ruth-ewan-12939" } ]

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[ { "artistRoomsTour": false, "dateText": "7 May 2018 – 4 November 2018", "endDate": "2018-11-04", "exhibitionLegs": [ { "dateText": "7 May 2018 – 4 November 2018", "endDate": "2018-11-04", "id": 12182, "startDate": "2018-05-07", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 10032, "startDate": "2018-05-07", "title": "London 1968", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "26 September 2022", "endDate": null, "exhibitionLegs": [ { "dateText": "26 September 2022", "endDate": null, "id": 13258, "startDate": "2022-09-26", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 10930, "startDate": "2022-09-26", "title": "Gallery 10", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>We could have been anything that we wanted to be (red version)</i> 2011 is a large, wall-hung decimal clock, which divides each day into ten hours, each hour into a hundred minutes, and each minute into a hundred seconds. The clock’s circular casing is red in colour. It was made by Ruth Ewan in relation to a work she was commissioned to make for the second Folkestone Triennial in 2011, also called <i>We could have been anything that we wanted to be</i>. The commission comprised ten decimal clocks of different designs installed around the seaside town of Folkestone in Kent. All the clocks were displayed publicly, some in very prominent positions such as the town hall, and others that had to be either assiduously sought out or happened upon by chance, such as those found in a pub or a local taxi. With each clock, Ewan replaced the dials and mechanism to achieve the decimal regulation of time. <i>We could have been anything that we wanted to be (red version) </i>2011 is one of two decimal clocks made in addition to those that were part of the Folkestone commission. The other is <i>We could have been anything that we wanted to be (black version) </i>2011 (Museum of Modern Art, Warsaw) which has a black casing.</p>\n<p>Ewan’s ten clocks make reference to an historic attempt to recalibrate the day along decimal lines following the overthrow of the French monarchy and aristocracy during the French Revolution in the late eighteenth century. On 5 October 1793 the newly formed Republic of France abandoned the Gregorian calendar in favour of a new version: the decimal French Republican Calendar, which became the official calendar of France for the subsequent thirteen years. As the old regimes were dismantled and discarded, and as the appetite for new beginnings grew, time itself was briefly reordered in an expression of revolutionary optimism.</p>\n<p>An interest in radical and revolutionary ideas resonates throughout Ewan’s work, which takes many forms including performance, installation and printed matter. Her practice often examines overlooked or forgotten areas of political and social history, giving prominence to activists and radical thinkers from the past, and highlighting their continued relevance today. One of her best-known works, <i>A Jukebox of People Trying to Change the World</i> (2003–ongoing), invites visitors to choose tracks from the jukebox’s growing catalogue of over 2,200 politically motivated songs. The artist has written:</p>\n<p class=\"cttext\">\n</p><blockquote>I am interested in viewing history not as remote past but as alive and potentially relevant to the present; in seeing how ideas circulate through ‘unofficial’ channels, such as oral history, songs or myths; in how a movement, event or cultural product from the past may produce ripples in the present; and in how those ripples can be controlled, transferred or tampered with in order to produce new meanings or interpretations.<br/>(Ewan in Bourriaud 2009, p.102.)</blockquote>\n<p>\n<i>We could have been anything that we wanted to be (red version)</i> can be displayed in a gallery alongside other works of art, or it can be positioned in the spaces around a building where one might conventionally hang a clock.</p>\n<p>\n<b>Further reading</b>\n<br/>Nicholas Bourriaud, <i>Altermodern: Tate Triennial</i>, exhibition catalogue, Tate Britain, London 2009.<br/>\n<i>Ruth Ewan</i>, exhibition catalogue, Dundee Contemporary Arts, Dundee 2012.</p>\n<p>Helen Delaney<br/>January 2015</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-02-09T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Ruth Ewan’s decimal clock divides each day into ten hours, each hour into 100 minutes and each minute into 100 seconds. Historically, the re-ordering of time is an expression of revolutionary optimism. Ewan refers to the attempt to recalibrate the day along decimal lines during the French Revolution. On 5 October 1793, the decimal French Republican Calendar became the official calendar of France. During the Paris Commune in 1871, the clocks were shot at to symbolically put an end to the time of rulers. For Ewan, time marks a place without defining an object. It is a space in which normal society can be subverted.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2020-08-21T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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

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[ { "artistRoomsTour": false, "dateText": "17 May 2018 – 16 February 2019", "endDate": "2019-02-16", "exhibitionLegs": [ { "dateText": "17 May 2018 – 16 February 2019", "endDate": "2019-02-16", "id": 11941, "startDate": "2018-05-17", "venueName": "Museu de Arte de São Paulo Assis Chateaubriand – MASP (Sao Paulo, Brazil)", "venueWebsiteUrl": null } ], "id": 9822, "startDate": "2018-05-17", "title": "Picture Gallery in Transformation", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "11 October 2021 – 3 April 2023", "endDate": "2023-04-03", "exhibitionLegs": [ { "dateText": "11 October 2021 – 3 April 2023", "endDate": "2023-04-03", "id": 14510, "startDate": "2021-10-11", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 11950, "startDate": "2021-10-11", "title": "Sixty Years", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>They Always Appear</i> 1964 is an oil painting built up from multiple layers of paint, textured in areas and finished with linseed oil and turpentine, giving it a varnished appearance. Figures and shapes seem to float across the canvas, moving between the background and foreground. The largest figure looms on the left with a mask-like head, while the smallest, visible on the right, has a mask resembling the face of a bird, underneath which a pair of eyes emerge from the column of brown paint. A third, more abstracted form composed from curved lines, spheres and crescents is positioned just off-centre, playing with the impression of negative and positive space created by the use of lighter and darker tones. Disembodied eyes appear throughout the painting, some barely discernible due to overpainting, with others standing out in relief. A light grey wash overwritten with gold and dark grey lines that are suggestive of calligraphy occupies the top left-hand corner of the composition, while a spherical shape in pink tones sits in the top right-hand corner. The palette is primarily limited to earthy brown, black and white tones, with an uneven beige surface covering the majority of the canvas. The subdued range of colours and animal forms are typical of El-Salahi’s paintings from the mid-1950s to the 1970s (see, for example, <i>Untitled </i>1967, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/el-salahi-untitled-t13736\" title=\"View the details of this artwork\"><span>T13736</span></a>).</p>\n<p>The painting is exemplary of El-Salahi’s early style and is part of a series of approximately eight paintings entitled <i>They Always Appear</i> that the artist began in Sudan in 1961, not long after returning to his native country after studying painting and calligraphy at the Slade School of Fine Art in London between 1954 and 1957. <i>They Always Appear</i> is the second painting in the series. Discussing his working method the artist has explained:</p>\n<p class=\"cttext\">\n</p><blockquote>I limited my colour scheme to sombre tones … In the next step I wrote letters and words that did not mean a thing. Then when I felt I had to break down the bone of the letter, observing the space within a letter and the space between a letter and the other on the line. I wanted to see what was there and find out their basic components and origins ... In place of those broken-up letters I discovered animal and plant forms, sounds, human images, and what looked like skeletons with masked faces<i>.</i>\n<br/>(Quoted in Beier 1993, p.29.)</blockquote>\n<p>The series <i>They Always Appear</i> explores the visual potential of an iconography perceived as traditionally Arab and African. Mask-like, figurative elements combine with calligraphic and linear components throughout the series, offering up new imagery and techniques in each work. The title can be read as a comment on the insistence of such imagery as it reappears and asserts itself across the series. These totemic figures are also a feature of El-Salahi’s large painting <i>Reborn Sounds of Childhood Dreams I</i> 1961–5 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/el-salahi-reborn-sounds-of-childhood-dreams-i-t13979\" title=\"View the details of this artwork\"><span>T13979</span></a>).</p>\n<p>Shapes resembling African masks appeared alongside calligraphic lines for the first time in El-Salahi’s paintings from the late 1950s. Upon returning to Sudan in 1957, El-Salahi became acutely aware of the need to develop a style which would connect to his locality. He moved away from the naturalistic academic portraiture that he had mastered while studying in London, developing a distinctive visual language based on the motifs and symbols that surrounded him in Sudan. This style, which influenced a number of his colleagues and students at the University of Khartoum, where he taught for many years, became known as the Khartoum School. The development of the Khartoum School can be seen in relation to the socio-political context of African countries searching for their position on the world stage and establishing national and international identities in the fight against colonial rule. Works like <i>They Always Appear</i> by El-Salahi and his contemporaries attempted to construct a visual identity for a united Sudanese society.</p>\n<p>El-Salahi’s influence extended across the African continent. In the early 1960s he participated in the Mbari Artists and Writers Club in Ibadan, where exhibitions of his works were organised by German writer and scholar Ulli Beier. There he came into contact with artists such as Demas Nwoko, Uche Okeke and Bruce Onobrakpeya, who championed the diverse and rich cultural heritage of Nigeria while making work that contributed to a modern African identity, an approach which chimed with El-Salahi’s own practice. Commenting on El-Salahi’s wider influence, art historian Salah M. Hassan has noted that ‘the idea, embodied in El-Salahi’s work of an “indigenous” art that is also global and modern is centrally important to the overall scenario of artistic production in Africa today’ (Hassan 2013, p.19).</p>\n<p>\n<b>Further reading</b>\n<br/>Ulli Beier, ‘The Right to Claim the World’, <i>Third Text</i>, vol.7, no.23, 1993, pp.23–30.<br/>Salah M. Hassan (ed.), <i>Ibrahim El-Salahi: A Visionary Modernist</i>, exhibition catalogue, Tate Modern, London 2013.</p>\n<p>Hansi Momodu-Gordon<br/>January 2015</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-01-23T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>El-Salahi gave the title <i>They Always Appear</i> to a series of paintings that explore the visual potential of bringing together a language of images traditionally perceived as Arab and African. In this painting, West African masks appear alongside calligraphic lines. El-Salahi developed a distinctive visual language based on the motifs and symbols that surrounded him in Sudan. This style became known as the ‘Khartoum School,’ as El Salahi and his contemporaries attempted to construct a visual language for a united Sudanese identity.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2022-10-28T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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[ { "append_role_to_name": false, "date": "1903–1991", "fc": "Hanaya Kanbee", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/hanaya-kanbee-22361" } ]

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[ { "artistRoomsTour": false, "dateText": "2 May 2018 – 14 October 2018", "endDate": "2018-10-14", "exhibitionLegs": [ { "dateText": "2 May 2018 – 14 October 2018", "endDate": "2018-10-14", "id": 11488, "startDate": "2018-05-02", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 9496, "startDate": "2018-05-02", "title": "Shape of Light: 100 Years of Photography and Abstract Art", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "8 June 2021 – 14 January 2024", "endDate": "2024-01-14", "exhibitionLegs": [ { "dateText": "8 July 2021 – 14 November 2021", "endDate": "2021-11-14", "id": 13892, "startDate": "2021-07-08", "venueName": "Museum of Art Pudong (Shanghai, China)", "venueWebsiteUrl": null }, { "dateText": "20 December 2021 – 8 May 2022", "endDate": "2022-05-08", "id": 14739, "startDate": "2021-12-20", "venueName": "Buk-Seoul Museum of Art (Seoul, South Korea)", "venueWebsiteUrl": null }, { "dateText": "25 February 2023 – 25 June 2023", "endDate": "2023-06-25", "id": 14740, "startDate": "2023-02-25", "venueName": "Auckland Art Gallery (Auckland, New Zealand)", "venueWebsiteUrl": null }, { "dateText": "12 July 2023 – 2 October 2023", "endDate": "2023-10-02", "id": 14538, "startDate": "2023-07-12", "venueName": "National Art Center (Tokyo, Japan)", "venueWebsiteUrl": null }, { "dateText": "26 October 2023 – 14 January 2024", "endDate": "2024-01-14", "id": 14537, "startDate": "2023-10-26", "venueName": "Nakanoshima Museum of Art (Osaka, Japan)", "venueWebsiteUrl": null } ], "id": 11474, "startDate": "2021-06-08", "title": "Light", "type": "Tate partnerships & programmes" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Light A </i>is one of a series of three photographs in Tate’s collection in which Hanaya Kanbee experimented with long exposures and the movement of a light source resulting in abstractions of light and shadow. Here the traces of light appear as two parallel diagonal lines moving across the image from top left to bottom right, above which is an outline of an ovoid. The other two photographs, which were also made in 1930 but printed in the 1970s, are <i>Light B </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kanbee-light-b-t14390\" title=\"View the details of this artwork\"><span>T14390</span></a>) and <i>Light C </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kanbee-light-c-t14391\" title=\"View the details of this artwork\"><span>T14391</span></a>). Kanbee originally made all three works as ferrotypes. This type of photograph, also known as a tintype, is one of the earliest photographic processes and is made by exposing a negative image onto a thin iron plate. The plate is then blackened with paint, lacquer or enamel and coated with photographic emulsion. The dark background lends the print the appearance of a positive image. The nature of this process means that ferrotypes are unique objects, so in order to replicate the images Kanbee made sets of ferrotyped gelatin silver prints on paper in the 1970s. The gelatin silver prints were made in the traditional manner, but dried in direct contact with a polished plate leaving the prints with a glossy appearance. The original ferrotypes of <i>Light A</i>,<i> Light B </i>and <i>Light C </i>are held in the collection of the Ashiya City Museum of Art and History in Japan. The later ferrotyped gelatin silver prints are not editioned and it is not clear how many Kanbee made from the original set of ferrotypes as only very few are known about.</p>\n<p>Born in Osaka in 1903, Kanbee (also spelt Kanbei) opened a photographic supply store in Ashiya in 1929 and co-founded the Ashiya Camera Club (1930–42), Japan’s leading avant-garde photographic group of the period. Its members, often amateur photographers, experimented with various darkroom techniques and approaches to composition that connected them with the modernist sensibilities of their contemporaries in Western Europe, particularly the practices associated with the New Vision, dada and surrealism. This radical approach was part of the ‘Shinko Shashin’, or ‘New Photography’, movement which gave rise to many avant-garde photography groups across Japan during this period. Describing the Ashiya Camera Club within this context, the curator Ryuichi Kaneko has noted how its members’ ‘imaginative style ... expressed in photograms, photomontages, and classic female portraits’ stood apart from the more ‘literal’ strand of the New Photography that emerged from Tokyo (<a href=\"http://www.amazon.co.uk/s/ref=dp_byline_sr_book_1?ie=UTF8&amp;field-author=Ryuichi+Kaneko&amp;search-alias=books-uk&amp;text=Ryuichi+Kaneko&amp;sort=relevancerank\">Ryuichi Kaneko</a>, <i>Modern Photography in Japan 1915–1940</i>, exhibition catalogue, Ansel Adams Center, San Francisco 2001, unpaginated). The expressive and experimental style seen in these works is typical of Kanbee’s practice, which continued late into his photographic career with the publication of his photographs in the short-lived but influential magazine <i>Provoke</i>,<i> </i>published in Japan between 1968 and 1970.</p>\n<p>The <i>Light </i>series is considered to be one of Kanbee’s most important works. Examples of the later prints have been included in the exhibitions <i>Japon des avant-gardes</i> at the Centre Georges Pompidou, Paris, in 1986; <i>Japanese Photography in the 1930s </i>at the Museum of Modern Art, Kamakura and Hamaya, in 1988; and <i>Art in Ashiya: Ashiya Camera Club 1930–1942 </i>at the Ashiya City Museum of Art and History in 1998.</p>\n<p>\n<b>Further reading</b>\n<br/>Heinz Spielmann, <i>Die Japanische Photographie: Geschichte, Themen, Strukturen</i>, Cologne 1984, pp.44, 56, 62, 252 (there titled <i>Revolving</i>, <i>Flying A </i>and <i>Flying B</i>).<br/>\n<i>Japanese Photography in the 1930s</i>, exhibition catalogue, Museum of Modern Art, Kamakura 1988, pp.238–40.<br/>\n<i>Art in Ashiya: Ashiya Camera Club 1930–1942</i>, Ashiya City Museum of Art and History, Ashiya 1998, reproduced pls.69–71.</p>\n<p>Emma Lewis<br/>December 2014</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-01-23T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1903–1991", "fc": "Hanaya Kanbee", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/hanaya-kanbee-22361" } ]

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[ { "artistRoomsTour": false, "dateText": "2 May 2018 – 14 October 2018", "endDate": "2018-10-14", "exhibitionLegs": [ { "dateText": "2 May 2018 – 14 October 2018", "endDate": "2018-10-14", "id": 11488, "startDate": "2018-05-02", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 9496, "startDate": "2018-05-02", "title": "Shape of Light: 100 Years of Photography and Abstract Art", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "8 June 2021 – 14 January 2024", "endDate": "2024-01-14", "exhibitionLegs": [ { "dateText": "8 July 2021 – 14 November 2021", "endDate": "2021-11-14", "id": 13892, "startDate": "2021-07-08", "venueName": "Museum of Art Pudong (Shanghai, China)", "venueWebsiteUrl": null }, { "dateText": "20 December 2021 – 8 May 2022", "endDate": "2022-05-08", "id": 14739, "startDate": "2021-12-20", "venueName": "Buk-Seoul Museum of Art (Seoul, South Korea)", "venueWebsiteUrl": null }, { "dateText": "25 February 2023 – 25 June 2023", "endDate": "2023-06-25", "id": 14740, "startDate": "2023-02-25", "venueName": "Auckland Art Gallery (Auckland, New Zealand)", "venueWebsiteUrl": null }, { "dateText": "12 July 2023 – 2 October 2023", "endDate": "2023-10-02", "id": 14538, "startDate": "2023-07-12", "venueName": "National Art Center (Tokyo, Japan)", "venueWebsiteUrl": null }, { "dateText": "26 October 2023 – 14 January 2024", "endDate": "2024-01-14", "id": 14537, "startDate": "2023-10-26", "venueName": "Nakanoshima Museum of Art (Osaka, Japan)", "venueWebsiteUrl": null } ], "id": 11474, "startDate": "2021-06-08", "title": "Light", "type": "Tate partnerships & programmes" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Light B </i>is one of a series of three photographs in Tate’s collection in which Hanaya Kanbee experimented with long exposures and the movement of a light source resulting in abstractions of light and shadow. Here the traces of light appear as two lines moving diagonally across the image, from top left to bottom right, and beneath them two small, triangular flecks of light. The other two photographs, which were also made in 1930 but printed in the 1970s, are <i>Light A </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kanbee-light-a-t14389\" title=\"View the details of this artwork\"><span>T14389</span></a>) and <i>Light C </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kanbee-light-c-t14391\" title=\"View the details of this artwork\"><span>T14391</span></a>). Kanbee originally made all three works in 1930 as ferrotypes. This type of photograph, also known as a tintype, is one of the earliest photographic processes and is made by exposing a negative image onto a thin iron plate. The plate is then blackened with paint, lacquer or enamel and coated with photographic emulsion. The dark background lends the print the appearance of a positive image. The nature of this process means that ferrotypes are unique objects, so in order to replicate the images Kanbee made sets of ferrotyped gelatin silver prints on paper in the 1970s. The gelatin silver prints were made in the traditional manner, but dried in direct contact with a polished plate leaving the prints with a glossy appearance. The original ferrotypes of <i>Light A, Light B </i>and <i>Light C </i>are held in the collection of the Ashiya City Museum of Art and History in Japan. The later ferrotyped gelatin silver prints are not editioned and it is not clear how many Kanbee made from the original set of ferrotypes as only very few are known about.</p>\n<p>Born in Osaka in 1903, Kanbee (also spelt Kanbei) opened a photographic supply store in Ashiya in 1929 and co-founded the Ashiya Camera Club (1930–42), Japan’s leading avant-garde photographic group of the period. Its members, often amateur photographers, experimented with various darkroom techniques and approaches to composition that connected them with the modernist sensibilities of their contemporaries in Western Europe, particularly the practices associated with the New Vision, dada and surrealism. This radical approach was part of the ‘Shinko Shashin’, or ‘New Photography’, movement which gave rise to many avant-garde photography groups across Japan during this period. Describing the Ashiya Camera Club within this context, the curator Ryuichi Kaneko has noted how its members’ ‘imaginative style ... expressed in photograms, photomontages, and classic female portraits’ stood apart from the more ‘literal’ strand of the New Photography that emerged from Tokyo (<a href=\"http://www.amazon.co.uk/s/ref=dp_byline_sr_book_1?ie=UTF8&amp;field-author=Ryuichi+Kaneko&amp;search-alias=books-uk&amp;text=Ryuichi+Kaneko&amp;sort=relevancerank\">Ryuichi Kaneko</a>, <i>Modern Photography in Japan 1915–1940</i>, exhibition catalogue, Ansel Adams Center, San Francisco 2001, unpaginated). The expressive and experimental style seen in these works is typical of Kanbee’s practice, which continued late into his photographic career with the publication of his photographs in the short-lived but influential magazine <i>Provoke</i>,<i> </i>published in Japan between 1968 and 1970.</p>\n<p>The <i>Light </i>series is considered to be one of Kanbee’s most important works. Examples of the later prints have been included in the exhibitions <i>Japon des avant-gardes</i> at the Centre Georges Pompidou, Paris, in 1986; <i>Japanese Photography in the 1930s </i>at the Museum of Modern Art, Kamakura and Hamaya, in 1988; and <i>Art in Ashiya: Ashiya Camera Club 1930–1942 </i>at the Ashiya City Museum of Art and History in 1998.</p>\n<p>\n<b>Further reading</b>\n<br/>Heinz Spielmann, <i>Die Japanische Photographie: Geschichte, Themen, Strukturen</i>, Cologne 1984, pp.44, 56, 62, 252 (there titled <i>Revolving</i>, <i>Flying A </i>and <i>Flying B</i>).<br/>\n<i>Japanese Photography in the 1930s</i>, exhibition catalogue, Museum of Modern Art, Kamakura 1988, pp.238–40.<br/>\n<i>Art in Ashiya: Ashiya Camera Club 1930–1942</i>, Ashiya City Museum of Art and History, Ashiya 1998, reproduced pls.69–71.</p>\n<p>Emma Lewis<br/>December 2014</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-01-23T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "blur", "emotions, concepts and ideas", "formal qualities", "light", "photographic" ]

[ { "append_role_to_name": false, "date": "1903–1991", "fc": "Hanaya Kanbee", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/hanaya-kanbee-22361" } ]

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[ { "artistRoomsTour": false, "dateText": "2 May 2018 – 14 October 2018", "endDate": "2018-10-14", "exhibitionLegs": [ { "dateText": "2 May 2018 – 14 October 2018", "endDate": "2018-10-14", "id": 11488, "startDate": "2018-05-02", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 9496, "startDate": "2018-05-02", "title": "Shape of Light: 100 Years of Photography and Abstract Art", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "8 June 2021 – 14 January 2024", "endDate": "2024-01-14", "exhibitionLegs": [ { "dateText": "8 July 2021 – 14 November 2021", "endDate": "2021-11-14", "id": 13892, "startDate": "2021-07-08", "venueName": "Museum of Art Pudong (Shanghai, China)", "venueWebsiteUrl": null }, { "dateText": "20 December 2021 – 8 May 2022", "endDate": "2022-05-08", "id": 14739, "startDate": "2021-12-20", "venueName": "Buk-Seoul Museum of Art (Seoul, South Korea)", "venueWebsiteUrl": null }, { "dateText": "25 February 2023 – 25 June 2023", "endDate": "2023-06-25", "id": 14740, "startDate": "2023-02-25", "venueName": "Auckland Art Gallery (Auckland, New Zealand)", "venueWebsiteUrl": null }, { "dateText": "12 July 2023 – 2 October 2023", "endDate": "2023-10-02", "id": 14538, "startDate": "2023-07-12", "venueName": "National Art Center (Tokyo, Japan)", "venueWebsiteUrl": null }, { "dateText": "26 October 2023 – 14 January 2024", "endDate": "2024-01-14", "id": 14537, "startDate": "2023-10-26", "venueName": "Nakanoshima Museum of Art (Osaka, Japan)", "venueWebsiteUrl": null } ], "id": 11474, "startDate": "2021-06-08", "title": "Light", "type": "Tate partnerships & programmes" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Light C </i>is one of a series of three photographs in Tate’s collection in which Hanaya Kanbee experimented with long exposures and the movement of a light source resulting in abstractions of light and shadow. Here the traces of light appear as a flecks and dashes across the image plane, with one large, blurred crescent shape dominating the middle of the image. The other two photographs, which were also made in 1930 but printed in the 1970s, are <i>Light A </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kanbee-light-a-t14389\" title=\"View the details of this artwork\"><span>T14389</span></a>) and <i>Light B </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kanbee-light-b-t14390\" title=\"View the details of this artwork\"><span>T14390</span></a>). Kanbee originally made all three works in 1930 as ferrotypes. This type of photograph, also known as a tintype, is one of the earliest photographic processes and is made by exposing a negative image onto a thin iron plate. The plate is then blackened with paint, lacquer or enamel and coated with photographic emulsion. The dark background lends the print the appearance of a positive image. The nature of this process means that ferrotypes are unique objects, so in order to replicate the images Kanbee made sets of ferrotyped gelatin silver prints on paper in the 1970s. The gelatin silver prints were made in the traditional manner, but dried in direct contact with a polished plate leaving the prints with a glossy appearance. The original ferrotypes of <i>Light A, Light B </i>and <i>Light C </i>are held in the collection of the Ashiya City Museum of Art and History in Japan. The later ferrotyped gelatin silver prints are not editioned and it is not clear how many Kanbee made from the original set of ferrotypes as only very few are known about.</p>\n<p>Born in Osaka in 1903, Kanbee (also spelt Kanbei) opened a photographic supply store in Ashiya in 1929 and co-founded the Ashiya Camera Club (1930–42), Japan’s leading avant-garde photographic group of the period. Its members, often amateur photographers, experimented with various darkroom techniques and approaches to composition that connected them with the modernist sensibilities of their contemporaries in Western Europe, particularly the practices associated with the New Vision, dada and surrealism. This radical approach was part of the ‘Shinko Shashin’, or ‘New Photography’, movement which gave rise to many avant-garde photography groups across Japan during this period. Describing the Ashiya Camera Club within this context, the curator Ryuichi Kaneko has noted how its members’ ‘imaginative style ... expressed in photograms, photomontages, and classic female portraits’ stood apart from the more ‘literal’ strand of the New Photography that emerged from Tokyo (<a href=\"http://www.amazon.co.uk/s/ref=dp_byline_sr_book_1?ie=UTF8&amp;field-author=Ryuichi+Kaneko&amp;search-alias=books-uk&amp;text=Ryuichi+Kaneko&amp;sort=relevancerank\">Ryuichi Kaneko</a>, <i>Modern Photography in Japan 1915–1940</i>, exhibition catalogue, Ansel Adams Center, San Francisco 2001, unpaginated). The expressive and experimental style seen in these works is typical of Kanbee’s practice, which continued late into his photographic career with the publication of his photographs in the short-lived but influential magazine <i>Provoke</i>,<i> </i>published in Japan between 1968 and 1970.</p>\n<p>The <i>Light </i>series is considered to be one of Kanbee’s most important works. Examples of the later prints have been included in the exhibitions <i>Japon des avant-gardes</i> at the Centre Georges Pompidou, Paris, in 1986; <i>Japanese Photography in the 1930s </i>at the Museum of Modern Art, Kamakura and Hamaya, in 1988; and <i>Art in Ashiya: Ashiya Camera Club 1930–1942 </i>at the Ashiya City Museum of Art and History in 1998.</p>\n<p>\n<b>Further reading</b>\n<br/>Heinz Spielmann, <i>Die Japanische Photographie: Geschichte, Themen, Strukturen</i>, Cologne 1984, pp.44, 56, 62, 252 (there titled <i>Revolving</i>, <i>Flying A </i>and <i>Flying B</i>).<br/>\n<i>Japanese Photography in the 1930s</i>, exhibition catalogue, Museum of Modern Art, Kamakura 1988, pp.238–40.<br/>\n<i>Art in Ashiya: Ashiya Camera Club 1930–1942</i>, Ashiya City Museum of Art and History, Ashiya 1998, reproduced pls.69–71.</p>\n<p>Emma Lewis<br/>December 2014</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-01-23T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[]

[ { "append_role_to_name": false, "date": "1950–2014", "fc": "Sue Arrowsmith", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/sue-arrowsmith-23687" } ]

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[ "Andromeda", "body", "classical myths: gods and heroes", "emotions, concepts and ideas", "formal qualities", "gestural", "head / face", "people", "photographic", "religion and belief", "repetition", "sequence" ]

[ { "append_role_to_name": false, "date": "1950–2014", "fc": "Sue Arrowsmith", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/sue-arrowsmith-23687" } ]

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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" } ]

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[ { "append_role_to_name": false, "date": "born 1938", "fc": "Füsun Onur", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/fusun-onur-21752" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of a group of twelve drawings in Tate’s collection from Turkish artist Füsun Onur’s series <i>Dividing Space on a White Piece of Paper</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/onur-dividing-space-on-a-white-piece-of-paper-t14394\" title=\"View the details of this artwork\"><span>T14394</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/onur-dividing-space-on-a-white-piece-of-paper-t14405\" title=\"View the details of this artwork\"><span>T14405</span></a>). Made between 1965 and 1966, and drawn in ink on paper, they show the artist exploring – as the title indicates – the possibilities of representing depth in two-dimensions through the relationship between lines and volumes. The drawings offer a sense of volumetric form seen as architectural or sculptural mass articulated on a flat surface. Delineated blocks of solid white and rectilinear black planes dominate the pictorial space. The artist’s intervention on the paper is minimal: using black ink, she created lines that essentially divide the paper into areas of white and black, creating shapes and a sense of depth out of its surface. The drawings demonstrate a compositional tension, emanating a sense of energy that arises from the interaction of the black and white motifs. The bold white volumes, with their geometrical configurations are seen against the strong black lines, a technique that produces a positive-negative effect. </p>\n<p>This early body of drawings anticipates Onur’s mature sculptural style and her concerns with surfaces, folds and spatial structures. Onur drew upon elements of abstraction to create works of strong linear composition inspired by rhythm, music and poetry, which subsequently informed the sculptures she produced from the 1970s onwards. The drawings, seen together as a group, define the artist’s explorations into rhythmic sequencing, structure, repetition and variation, elements that also exist in the different fields that informed her practice.</p>\n<p>Growing up in Istanbul in the 1940s and 1950s, Onur’s life and career were deeply connected to the city’s cosmopolitan and modernising character at the time. She began her career as a traditional sculptor, realising figurative works such as portrait busts. She abandoned representation from the late 1950s and began experimenting with abstract forms, engaging with the history of modernist abstraction. The cultural and intellectual wealth she was exposed to during her formative years in Istanbul, and her dissatisfaction with what she saw as the limitations placed upon her artistic development, led her to leave Turkey in 1962 to study in the United States. While there, she immersed herself in sculpture and theories of abstraction, basing her works on structural, spatial forms; she introduced elements of chance and found elements – such as metal, wood, fabric, mirrors and other everyday materials – into the solid plaster forms of her biomorphic, geometric and architectural sculptures. Having returned to live and work in Istanbul, though recognised as a pivotal female figure in the local context, she eluded categorisation, at times deliberately marginalising her practice. Refusing to repeat similar sculptures twice, she destroyed many of her works by throwing them into the Bosphorus, an act that she saw as liberating her production and allowing her continuously to explore new forms. She explained, ‘I was always breaking my sculptures because I wanted to change … Because I didn’t like my sculptures, I would throw one out to do another.’ (Quoted in <i>documenta 13</i> 2012, p.21.)</p>\n<p>The loss of most of Onur’s sculptures and installations reflects the importance of her drawings as surviving indications of the artist’s ideas. The motifs, patterns, structural compositions and spatial configurations seen in this group of early drawings thus serves as a pictorial framework for her three-dimensional works, such as the sculptures made out of wood, plexiglass and Styrofoam that she produced in the 1970s. </p>\n<p>\n<b>Further reading</b>\n<br/>Margrit Brehm, <i>Füsun Onur – For Careful Eyes</i>, exhibition catalogue, Yapi Kredi Kültür Merkezi, Istanbul 2007.<br/>\n<i>Füsun Onur – dOCUMENTA (13</i>), exhibition catalogue, Cologne 2012.<br/>\n<i>Füsun Onur – Through the Looking Glass</i>, exhibition catalogue, ARTER, Istanbul 2014.</p>\n<p>Vassilis Oikonomopoulos<br/>July 2014</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-08-21T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1907–1969", "fc": "Mary Martin", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/mary-martin-1586" } ]

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[ { "append_role_to_name": false, "date": "1915–2012", "fc": "Mary Fedden", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/mary-fedden-1084" } ]

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[ { "artistRoomsTour": false, "dateText": "9 July 2022 – 16 October 2022", "endDate": "2022-10-16", "exhibitionLegs": [ { "dateText": "9 July 2022 – 16 October 2022", "endDate": "2022-10-16", "id": 14821, "startDate": "2022-07-09", "venueName": "Victoria Art Gallery (Bath, UK)", "venueWebsiteUrl": null } ], "id": 12189, "startDate": "2022-07-09", "title": "Mary Fedden: Simple Pleasures", "type": "Loan-out" } ]

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[ { "append_role_to_name": false, "date": "1910–1988", "fc": "Julian Trevelyan", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/julian-trevelyan-2065" } ]

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[ { "append_role_to_name": false, "date": "1910–1988", "fc": "Julian Trevelyan", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/julian-trevelyan-2065" } ]

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[ { "append_role_to_name": false, "date": "1910–1988", "fc": "Julian Trevelyan", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/julian-trevelyan-2065" } ]

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[ { "archiveItemCount": 0, "id": 95, "level": 2, "name": "adults", "parent_id": 91, "workCount": 20120 }, { "archiveItemCount": 858, "id": 67, "level": 3, "name": "animals: mammals", "parent_id": 60, "workCount": 4013 }, { "archiveItemCount": 1628, "id": 93, "level": 2, "name": "body", "parent_id": 91, "workCount": 3250 }, { "archiveItemCount": 1415, "id": 88, "level": 2, "name": "clothing and personal items", "parent_id": 78, "workCount": 4464 }, { "archiveItemCount": 11, "id": 671, "level": 3, "name": "elephant", "parent_id": 67, "workCount": 74 }, { "archiveItemCount": 3337, "id": 31, "level": 2, "name": "emotions and human qualities", "parent_id": 29, "workCount": 2008 }, { "archiveItemCount": 5302, "id": 29, "level": 1, "name": "emotions, concepts and ideas", "parent_id": 1, "workCount": 11114 }, { "archiveItemCount": 454, "id": 451, "level": 3, "name": "figure", "parent_id": 95, "workCount": 6355 }, { "archiveItemCount": 351, "id": 286, "level": 2, "name": "food and drink", "parent_id": 78, "workCount": 629 }, { "archiveItemCount": 3599, "id": 6729, "level": 2, "name": "formal qualities", "parent_id": 29, "workCount": 8855 }, { "archiveItemCount": 21, "id": 1037, "level": 3, "name": "fruit, apple", "parent_id": 286, "workCount": 64 }, { "archiveItemCount": 7, "id": 19508, "level": 3, "name": "gestural", "parent_id": 6729, "workCount": 756 }, { "archiveItemCount": 625, "id": 615, "level": 3, "name": "head / face", "parent_id": 93, "workCount": 1872 }, { "archiveItemCount": 426, "id": 156, "level": 2, "name": "health and welfare", "parent_id": 145, "workCount": 270 }, { "archiveItemCount": 3648, "id": 33, "level": 1, "name": "history", "parent_id": 1, "workCount": 2128 }, { "archiveItemCount": 0, "id": 42780, "level": 3, "name": "horse box", "parent_id": 160, "workCount": 1 }, { "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": 1241, "id": 38, "level": 2, "name": "politics and society", "parent_id": 33, "workCount": 1096 }, { "archiveItemCount": 26, "id": 5682, "level": 3, "name": "psychiatry", "parent_id": 156, "workCount": 7 }, { "archiveItemCount": 69, "id": 1029, "level": 3, "name": "shoe", "parent_id": 88, "workCount": 110 }, { "archiveItemCount": 0, "id": 145, "level": 1, "name": "society", "parent_id": 1, "workCount": 15153 }, { "archiveItemCount": 0, "id": 42781, "level": 3, "name": "society: Guttman-Maclay mescaline experiments, Maudsley Hospital, 1930s", "parent_id": 38, "workCount": 1 }, { "archiveItemCount": 15, "id": 6780, "level": 3, "name": "subconscious", "parent_id": 31, "workCount": 47 }, { "archiveItemCount": 0, "id": 160, "level": 2, "name": "transport: land", "parent_id": 145, "workCount": 2189 } ]

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[ "adults", "animals: mammals", "body", "clothing and personal items", "elephant", "emotions and human qualities", "emotions, concepts and ideas", "figure", "food and drink", "formal qualities", "fruit, apple", "gestural", "head / face", "health and welfare", "history", "horse box", "objects", "people", "politics and society", "psychiatry", "shoe", "society", "society: Guttman-Maclay mescaline experiments, Maudsley Hospital, 1930s", "subconscious", "transport: land" ]

[ { "append_role_to_name": false, "date": "1910–1988", "fc": "Julian Trevelyan", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/julian-trevelyan-2065" } ]

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[ { "artistRoomsTour": false, "dateText": "6 October 2018 – 10 February 2019", "endDate": "2019-02-10", "exhibitionLegs": [ { "dateText": "6 October 2018 – 10 February 2019", "endDate": "2019-02-10", "id": 12362, "startDate": "2018-10-06", "venueName": "Pallant House Gallery (Chichester, UK)", "venueWebsiteUrl": null } ], "id": 10186, "startDate": "2018-10-06", "title": "Julian Trevelyan (1910 - 1988): A Retrospective", "type": "Loan-out" } ]

[]

[]

[ { "append_role_to_name": false, "date": "1901–1991", "fc": "Fahrelnissa Zeid", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/fahrelnissa-zeid-22764" } ]

[ { "id": 999999873, "shortTitle": "Tate St Ives" }, { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999872, "shortTitle": "Works on display" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

[ { "map_gallery": "TSI", "map_gallery_label": "Tate St Ives", "map_level": "TSI_03", "map_level_label": "TSI Level 3", "map_space": "TSI32", "map_space_label": "Tate St Ives / TSI32", "map_wing": null, "map_wing_label": null, "map_zone": null, "map_zone_label": null, "nid": "479052" } ]

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[ { "artistRoomsTour": false, "dateText": "13 June 2017 – 1 October 2018", "endDate": "2018-10-01", "exhibitionLegs": [ { "dateText": "13 June 2017 – 8 October 2017", "endDate": "2017-10-08", "id": 10632, "startDate": "2017-06-13", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" }, { "dateText": "19 October 2017 – 25 March 2018", "endDate": "2018-03-25", "id": 10634, "startDate": "2017-10-19", "venueName": "Deutsche Bank Kunsthalle (Berlin, Germany)", "venueWebsiteUrl": null }, { "dateText": "27 April 2018 – 1 October 2018", "endDate": "2018-10-01", "id": 11376, "startDate": "2018-04-27", "venueName": "Sursock Museum (Beirut, Lebanon)", "venueWebsiteUrl": null } ], "id": 8778, "startDate": "2017-06-13", "title": "Fahrelnissa Zeid", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "13 June 2017 – 1 October 2018", "endDate": "2018-10-01", "exhibitionLegs": [ { "dateText": "19 October 2017 – 25 March 2018", "endDate": "2018-03-25", "id": 11453, "startDate": "2017-10-19", "venueName": "Deutsche Bank Kunsthalle (Berlin, Germany)", "venueWebsiteUrl": null } ], "id": 9468, "startDate": "2017-06-13", "title": "Fahrelnissa Zeid", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "14 February 2022", "endDate": null, "exhibitionLegs": [ { "dateText": "14 February 2022", "endDate": null, "id": 14680, "startDate": "2022-02-14", "venueName": "Tate Liverpool (Liverpool, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/liverpool/" } ], "id": 12091, "startDate": "2022-02-14", "title": "Global Modernisms", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Fahrelnissa Zeid used swirling, crossing lines to paint this abstract artwork. After drawing the lines in pencil, she filled in the shapes made between them with black, green, blue and pink. The result is a complex, kaleidoscopic effect. Zeid made the painting when she was living in London in the 1950s. In 1949 she had taken her first transatlantic flight and was captivated by the abstracted perspective of aerial views. She later translated their scale and feeling into the whirling shapes that appear in this painting. A divisionist effect is achieved, whereby individual patches of colour are built up to create an overall composition.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2021-11-09T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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[ { "append_role_to_name": false, "date": "1940–2007", "fc": "Dmitri Prigov", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/dmitri-prigov-22673" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 203699, "shortTitle": "Poetrygrams" }, { "id": 999999956, "shortTitle": "Collection" } ]

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[ { "archiveItemCount": 1, "id": 184, "level": 1, "name": "abstraction", "parent_id": 1, "workCount": 8614 }, { "archiveItemCount": 188, "id": 10058, "level": 2, "name": "film, music and ballet", "parent_id": 55, "workCount": 181 }, { "archiveItemCount": 214, "id": 226, "level": 3, "name": "geometric", "parent_id": 185, "workCount": 2858 }, { "archiveItemCount": 3648, "id": 33, "level": 1, "name": "history", "parent_id": 1, "workCount": 2128 }, { "archiveItemCount": 8916, "id": 6927, "level": 2, "name": "lifestyle and culture", "parent_id": 145, "workCount": 1331 }, { "archiveItemCount": 674, "id": 55, "level": 1, "name": "literature and fiction", "parent_id": 1, "workCount": 2464 }, { "archiveItemCount": 1, "id": 185, "level": 2, "name": "non-representational", "parent_id": 184, "workCount": 6160 }, { "archiveItemCount": 0, "id": 13022, "level": 3, "name": "poetry", "parent_id": 6927, "workCount": 85 }, { "archiveItemCount": 1241, "id": 38, "level": 2, "name": "politics and society", "parent_id": 33, "workCount": 1096 }, { "archiveItemCount": 20, "id": 6120, "level": 3, "name": "politics: Communism", "parent_id": 38, "workCount": 24 }, { "archiveItemCount": 1, "id": 40770, "level": 3, "name": "politics: Soviet Union", "parent_id": 38, "workCount": 3 }, { "archiveItemCount": 95, "id": 843, "level": 3, "name": "satire", "parent_id": 158, "workCount": 170 }, { "archiveItemCount": 4671, "id": 158, "level": 2, "name": "social comment", "parent_id": 145, "workCount": 1913 }, { "archiveItemCount": 0, "id": 145, "level": 1, "name": "society", "parent_id": 1, "workCount": 15153 }, { "archiveItemCount": 0, "id": 42458, "level": 3, "name": "song: Isakovsky, Mikhail, ‘Song of the Labour Reserves’, 1948", "parent_id": 10058, "workCount": 1 }, { "archiveItemCount": 3, "id": 445, "level": 3, "name": "text", "parent_id": 185, "workCount": 1040 } ]

[ { "artistRoomsTour": false, "dateText": "12 October 2017 – 17 December 2017", "endDate": "2017-12-17", "exhibitionLegs": [ { "dateText": "12 October 2017 – 17 December 2017", "endDate": "2017-12-17", "id": 11432, "startDate": "2017-10-12", "venueName": "Calvert 22 Foundation (London, UK)", "venueWebsiteUrl": null } ], "id": 9450, "startDate": "2017-10-12", "title": "Dmitry Prigov: Theatre of Revolutionary Action", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This work in ink on paper is from a larger group of works known as <i>Poetrygrams </i>(in Russian <i>stikhogrammi</i>), the name Dmitri Prigov gave to his visual poems. Each poetrygram is a single piece of paper bearing hand-typed text that functions as both a visual and literary work. Some of the pieces have been additionally marked up with correction fluid and ink from a felt-tip marker or ballpoint pen. In each poetrygram<i> </i>the typed words and lines of text are repeated numerous times and organised so as to create a visual image and plays on words, many of which are alluded to in the works’ titles. Prigov also regarded the process of their production, which involved the repetitious, monotonous typing of words and phrases on a typewriter, as a performance. He started making his poetrygrams<i> </i>in Moscow in 1975, taking inspiration from the futurist poems of Vladimir Mayakovsky (1893–1930) and his concern with breaking the rules of the printed page. The exact number and date of Prigov’s poetrygrams is unknown, with most made in the second half of the 1970s and in the 1980s.</p>\n<p>Around this time Prigov was one of the core group of first-generation nonconformist artists in Soviet Russia. He was a pioneer of Russian performance art and a cult figure in Moscow’s underground art community. Although trained as a sculptor, he was also a prolific poet, novelist and playwright. The intricate relationship between image and text that is a key feature of Moscow conceptualism is especially prevalent in his work. He referred to himself as ‘a worker, a labourer … both in the literary realm and that of visual art, on the border between them’, and explained: ‘In my works I attempt to unite these two realms’ (quoted in Günter Hirt and Sascha Wonders, ‘Dmitri A. Prigov: Textual Manipulator’, in Degot 2008, p.142). Prior to the increased openness and transparency in Russian institutions resulting from the policy of <i>glasnost</i> (freedom of speech) in the late 1980s, Prigov’s poems were circulated as <i>samizdat</i> – hand-produced copies of censored publications which passed secretly from reader to reader. From 1971 he also gave ‘performance-readings’ at unofficial exhibitions held in the private apartments and studios of artists including Ilya Kabakov and Andrei Monastyrski. In 1986, after his performances came to the attention of the Russian security services, the KGB, Prigov was briefly sectioned in a psychiatric hospital. A vocal campaign by artists and literary figures both in the Soviet Union and abroad secured his release. In 1988 Prigov held his first personal exhibition jointly with Boris Orlov in Chicago, and the following year his work began to be officially published and exhibited in Russia.</p>\n<p>The poetrygrams visually reference the typewritten texts of <i>samizdat</i> and have their aesthetic precedents in the concrete poetry movement of the 1950s and 1960s. However, Prigov’s visual poems would be better described as post-concrete as they subvert the intentions of those earlier works. Whereas in concrete poetry text is arranged in grid-like patterns to single out words as units of meaning, the poetrygrams consist of repeated lines of text that are often disrupted to such an extent that in places the words become illegible. The text of the poetrygrams incorporates political slogans, acronyms and clichés that were a common feature of Soviet life. The repetition of these phrases is suggestive of the monotony and prevalence of state rhetoric, so much so that it takes on its own architecture.</p>\n<p>Tate’s collection includes a group of sixteen poetrygrams, a selection from the larger series. They can be displayed individually or in groups. A number of them appropriate popular patriotic songs and poems from the Soviet Union. The text in <i>Wherever the Motherland May Send Us</i> 1978 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-wherever-the-motherland-may-send-us-t14416\" title=\"View the details of this artwork\"><span>T14416</span></a>) is written in transliterated form from the original Cyrillic and reads: ‘Wherever the Motherland may send us / Proudly, we’ll keep our word’. The first line is from poet Mikhail Isakovsky’s popular war song of 1948 entitled <i>Song of the Labour Reserves</i>. The words in<i> Stalin Raised Us for the Joy of the People... </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-stalin-raised-us-for-the-joy-of-the-people-t14417\" title=\"View the details of this artwork\"><span>T14417</span></a>) are from the national anthem of the Soviet Union between 1944 and 1977. The full sentence from which the quote is taken reads: ‘Stalin raised for the joy of the people / He inspired us to labour and heroic deeds’. In 1977 the opening three words were removed and substituted with ‘immortal ideas of Communism’, as part of the long process of ‘de-Stalinisation’ in the Soviet Union in the years after the leader’s death in 1953. The works <i>He Who Does Not Sing with Us Is Against Us... </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-he-who-does-not-sing-with-us-is-against-us-t14425\" title=\"View the details of this artwork\"><span>T14425</span></a>) and <i>And Life is Good and To Live is Good… </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-and-life-is-good-and-to-live-is-good-t14426\" title=\"View the details of this artwork\"><span>T14426</span></a>), were inspired by the revolutionary poems of Vladimir Mayakovsky. The first is a slogan based on his writings, and reads ‘He who does not sing with us is against us. He will be destroyed’. <i>And Life is Good and To Live is Good… </i>contains two verses from <i>Good! The Revolution Poem</i>, written by Mayakovsky in 1927. They translate as: ‘And life is good and to live is good, and it is even better for us fully charged and ready to fight’.</p>\n<p>Common political slogans also appear in the poetrygrams. <i>Our Cause is Just – We Will Win! </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-our-cause-is-just-we-will-win-t14418\" title=\"View the details of this artwork\"><span>T14418</span></a>) takes its title from a phrase from a 1941 speech by Vyacelav Molotov, the Soviet Minister of Foreign Affairs. The words were engraved around Stalin’s portrait on medals which were conferred to Soviet soldiers who had fought in Germany during the Second World War. To these words Prigov has added the phrase, ‘Hooray! Comrades!’. In the centre of the poetrygram Prigov’s signature is repeated three times next to the titles Secretary of the Communist Party, Secretary of the VLKSM (All-Union Leninist Young Communist League) and Chairman of the Trade Union. <i>A Spectre is Haunting Europe…</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-a-spectre-is-haunting-europe-t14422\" title=\"View the details of this artwork\"><span>T14422</span></a>) consists of two sentences which translate as: ‘A spectre is haunting Europe, comrades, the spectre of Communism’ and ‘Dark and sad spectre, you roam here until morning’. The first is the opening sentence of the <i>Manifesto of the Communist Party</i> by Karl Marx and Friedrich Engels, published in 1848, to which Prigov added the word ‘comrades’. The second sentence in the poetrygram is of Prigov’s invention and loosely refers to the ghost of the king in Shakespeare’s <i>Hamlet</i>. The work <i>Karl Marx, Friedrich Engels, Vladimir Lenin, Joseph Stalin... </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-karl-marx-friedrich-engels-vladimir-lenin-joseph-stalin-t14427\" title=\"View the details of this artwork\"><span>T14427</span></a>) is constructed through the repetition of the names of the principal ideologues and leaders of the Communist Party given in its title. The repetition of these four names is disrupted in the fortieth line where the names are muddled to read ‘Karl Engels, Friedrich Lenin, Vladimir Marx, Joseph Stalin’, and in the fiftieth where all the surnames are changed to Marx.</p>\n<p>Other works refer to the state-controlled media through which written propaganda was disseminated to the Soviet people, such as <i>Party Life </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-party-life-t14419\" title=\"View the details of this artwork\"><span>T14419</span></a>). The words <i>Partiinaia zhizn</i> (‘Party Life’) are repeated on the original headed notepaper of the Soviet magazine of the same name. Published fortnightly from 1919 to 1990, <i>Partiinaia zhizn</i> was an official publication of the Central Committee of the Communist Party of the Soviet Union and at its peak in the 1970s had a circulation of over one million copies. In the top left corner Prigov has twice amended the date of the letter with a blue ballpoint pen. ‘12 Feb 1977’ and ‘13 Feb 1977’ are crossed out, leaving ‘14 Feb 1977’. <i>The Fifth of May Has Long and Deservedly Counted Among the Stellar Days... </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-the-fifth-of-may-has-long-and-deservedly-counted-among-the-stellar-days-t14424\" title=\"View the details of this artwork\"><span>T14424</span></a>) refers to a long text about the foundation and the importance of <i>Pravda</i> (which translates as truth), the official newspaper of the Communist Party of the Soviet Union from 1912 to 1991. The text was first published on 5 May 1912 to coincide with Karl Marx’s birthday (22 April) according to the Russian calendar in use at that time. The biblical rhetoric of the Russian Orthodox Church provides further source material for the poetrygrams. <i>Trampling down death by death…</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-trampling-down-death-by-death-t14421\" title=\"View the details of this artwork\"><span>T14421</span></a>) is titled according to a quote from the Easter mass spoken by priests celebrating Jesus’s defeat of death through his resurrection, while <i>And Then They Will All Rise from Their Graves and Summon Us All to Account</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-and-then-they-will-all-rise-from-their-graves-and-summon-us-all-to-account-t14430\" title=\"View the details of this artwork\"><span>T14430</span></a>) is an apocalyptic reference.</p>\n<p>Other poetrygrams contain wordplay with more explicitly nihilistic or insidious allusions. In <i>Nothingness</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-nothingness-t14420\" title=\"View the details of this artwork\"><span>T14420</span></a>), the word is repeated in an elaborate pattern. <i>Be Prepared…</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-be-prepared-t14423\" title=\"View the details of this artwork\"><span>T14423</span></a>) consists of three intersecting sentences which translate as, ‘Be prepared for this idea’, ‘I am not ready for this idea’ and ‘I am ready for this idea’. <i>Please Vacate the Carriages. The Train Goes No Further </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-please-vacate-the-carriages-the-train-goes-no-further-t14429\" title=\"View the details of this artwork\"><span>T14429</span></a>) and <i>The Train Goes No Further! Please Vacate the Carriages… </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-the-train-goes-no-further-please-vacate-the-carriages-t14428\" title=\"View the details of this artwork\"><span>T14428</span></a>) share the same textual material. In the first, the sentences ‘Please vacate the carriages’ and ‘The train goes no further’ are repeated until they cross and swap position. In the latter, the sentence ‘The train goes no further! Please vacate the carriages!’ gradually alters to become ‘The enemy won’t pass. We won’t step back.’ The triumphant language in <i>Times Heroic In Lived We</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-times-heroic-in-lived-we-t14431\" title=\"View the details of this artwork\"><span>T14431</span></a>) refers to the patriotic slogans that followed Soviet sacrifices in the Second World War. However, the phrase ‘We lived in heroic times. Posterity, you must envy us!’ has been reordered to read ‘Times Heroic in Lived We. Envy Us, Posterity’. As a series the <i>Poetrygrams</i> document the artist’s experience and disruption of the institutional rhetoric of the Soviet Union.</p>\n<p>\n<b>Further reading</b>\n<br/>Alla Rosenfeld and Norton T. Dodge (eds.), <i>Nonconformist Art: The Soviet Experience, 1956–1986</i>, New York 1995.<br/>Ekaterina Degot (ed.), <i>Citizens! Please Mind Yourselves!</i>, exhibition catalogue, Moscow Museum of Modern Art, Moscow 2008, reproduced pp.241–2, 248–9, 254, 262, 264–5.<br/>Kirill Svetlyakov (ed.), <i>Dmitri Prigov: From Renaissance to Conceptualism and Beyond</i>, exhibition catalogue, State Tretyakov Gallery, Moscow 2014, reproduced pp.88, 90–1, 93.</p>\n<p>Julia Tatiana Bailey and Antonio Geusa<br/>February 2015</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-02-07T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "abstraction", "film, music and ballet", "geometric", "history", "lifestyle and culture", "literature and fiction", "non-representational", "poetry", "politics and society", "politics: Communism", "politics: Soviet Union", "satire", "social comment", "society", "song: Isakovsky, Mikhail, ‘Song of the Labour Reserves’, 1948", "text" ]

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[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 203699, "shortTitle": "Poetrygrams" }, { "id": 999999956, "shortTitle": "Collection" } ]

[]

[]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This work in ink on paper is from a larger group of works known as <i>Poetrygrams </i>(in Russian <i>stikhogrammi</i>), the name Dmitri Prigov gave to his visual poems. Each poetrygram is a single piece of paper bearing hand-typed text that functions as both a visual and literary work. Some of the pieces have been additionally marked up with correction fluid and ink from a felt-tip marker or ballpoint pen. In each poetrygram<i> </i>the typed words and lines of text are repeated numerous times and organised so as to create a visual image and plays on words, many of which are alluded to in the works’ titles. Prigov also regarded the process of their production, which involved the repetitious, monotonous typing of words and phrases on a typewriter, as a performance. He started making his poetrygrams<i> </i>in Moscow in 1975, taking inspiration from the futurist poems of Vladimir Mayakovsky (1893–1930) and his concern with breaking the rules of the printed page. The exact number and date of Prigov’s poetrygrams is unknown, with most made in the second half of the 1970s and in the 1980s.</p>\n<p>Around this time Prigov was one of the core group of first-generation nonconformist artists in Soviet Russia. He was a pioneer of Russian performance art and a cult figure in Moscow’s underground art community. Although trained as a sculptor, he was also a prolific poet, novelist and playwright. The intricate relationship between image and text that is a key feature of Moscow conceptualism is especially prevalent in his work. He referred to himself as ‘a worker, a labourer … both in the literary realm and that of visual art, on the border between them’, and explained: ‘In my works I attempt to unite these two realms’ (quoted in Günter Hirt and Sascha Wonders, ‘Dmitri A. Prigov: Textual Manipulator’, in Degot 2008, p.142). Prior to the increased openness and transparency in Russian institutions resulting from the policy of <i>glasnost</i> (freedom of speech) in the late 1980s, Prigov’s poems were circulated as <i>samizdat</i> – hand-produced copies of censored publications which passed secretly from reader to reader. From 1971 he also gave ‘performance-readings’ at unofficial exhibitions held in the private apartments and studios of artists including Ilya Kabakov and Andrei Monastyrski. In 1986, after his performances came to the attention of the Russian security services, the KGB, Prigov was briefly sectioned in a psychiatric hospital. A vocal campaign by artists and literary figures both in the Soviet Union and abroad secured his release. In 1988 Prigov held his first personal exhibition jointly with Boris Orlov in Chicago, and the following year his work began to be officially published and exhibited in Russia.</p>\n<p>The poetrygrams visually reference the typewritten texts of <i>samizdat</i> and have their aesthetic precedents in the concrete poetry movement of the 1950s and 1960s. However, Prigov’s visual poems would be better described as post-concrete as they subvert the intentions of those earlier works. Whereas in concrete poetry text is arranged in grid-like patterns to single out words as units of meaning, the poetrygrams consist of repeated lines of text that are often disrupted to such an extent that in places the words become illegible. The text of the poetrygrams incorporates political slogans, acronyms and clichés that were a common feature of Soviet life. The repetition of these phrases is suggestive of the monotony and prevalence of state rhetoric, so much so that it takes on its own architecture.</p>\n<p>Tate’s collection includes a group of sixteen poetrygrams, a selection from the larger series. They can be displayed individually or in groups. A number of them appropriate popular patriotic songs and poems from the Soviet Union. The text in <i>Wherever the Motherland May Send Us</i> 1978 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-wherever-the-motherland-may-send-us-t14416\" title=\"View the details of this artwork\"><span>T14416</span></a>) is written in transliterated form from the original Cyrillic and reads: ‘Wherever the Motherland may send us / Proudly, we’ll keep our word’. The first line is from poet Mikhail Isakovsky’s popular war song of 1948 entitled <i>Song of the Labour Reserves</i>. The words in<i> Stalin Raised Us for the Joy of the People... </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-stalin-raised-us-for-the-joy-of-the-people-t14417\" title=\"View the details of this artwork\"><span>T14417</span></a>) are from the national anthem of the Soviet Union between 1944 and 1977. The full sentence from which the quote is taken reads: ‘Stalin raised for the joy of the people / He inspired us to labour and heroic deeds’. In 1977 the opening three words were removed and substituted with ‘immortal ideas of Communism’, as part of the long process of ‘de-Stalinisation’ in the Soviet Union in the years after the leader’s death in 1953. The works <i>He Who Does Not Sing with Us Is Against Us... </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-he-who-does-not-sing-with-us-is-against-us-t14425\" title=\"View the details of this artwork\"><span>T14425</span></a>) and <i>And Life is Good and To Live is Good… </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-and-life-is-good-and-to-live-is-good-t14426\" title=\"View the details of this artwork\"><span>T14426</span></a>), were inspired by the revolutionary poems of Vladimir Mayakovsky. The first is a slogan based on his writings, and reads ‘He who does not sing with us is against us. He will be destroyed’. <i>And Life is Good and To Live is Good… </i>contains two verses from <i>Good! The Revolution Poem</i>, written by Mayakovsky in 1927. They translate as: ‘And life is good and to live is good, and it is even better for us fully charged and ready to fight’.</p>\n<p>Common political slogans also appear in the poetrygrams. <i>Our Cause is Just – We Will Win! </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-our-cause-is-just-we-will-win-t14418\" title=\"View the details of this artwork\"><span>T14418</span></a>) takes its title from a phrase from a 1941 speech by Vyacelav Molotov, the Soviet Minister of Foreign Affairs. The words were engraved around Stalin’s portrait on medals which were conferred to Soviet soldiers who had fought in Germany during the Second World War. To these words Prigov has added the phrase, ‘Hooray! Comrades!’. In the centre of the poetrygram Prigov’s signature is repeated three times next to the titles Secretary of the Communist Party, Secretary of the VLKSM (All-Union Leninist Young Communist League) and Chairman of the Trade Union. <i>A Spectre is Haunting Europe…</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-a-spectre-is-haunting-europe-t14422\" title=\"View the details of this artwork\"><span>T14422</span></a>) consists of two sentences which translate as: ‘A spectre is haunting Europe, comrades, the spectre of Communism’ and ‘Dark and sad spectre, you roam here until morning’. The first is the opening sentence of the <i>Manifesto of the Communist Party</i> by Karl Marx and Friedrich Engels, published in 1848, to which Prigov added the word ‘comrades’. The second sentence in the poetrygram is of Prigov’s invention and loosely refers to the ghost of the king in Shakespeare’s <i>Hamlet</i>. The work <i>Karl Marx, Friedrich Engels, Vladimir Lenin, Joseph Stalin... </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-karl-marx-friedrich-engels-vladimir-lenin-joseph-stalin-t14427\" title=\"View the details of this artwork\"><span>T14427</span></a>) is constructed through the repetition of the names of the principal ideologues and leaders of the Communist Party given in its title. The repetition of these four names is disrupted in the fortieth line where the names are muddled to read ‘Karl Engels, Friedrich Lenin, Vladimir Marx, Joseph Stalin’, and in the fiftieth where all the surnames are changed to Marx.</p>\n<p>Other works refer to the state-controlled media through which written propaganda was disseminated to the Soviet people, such as <i>Party Life </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-party-life-t14419\" title=\"View the details of this artwork\"><span>T14419</span></a>). The words <i>Partiinaia zhizn</i> (‘Party Life’) are repeated on the original headed notepaper of the Soviet magazine of the same name. Published fortnightly from 1919 to 1990, <i>Partiinaia zhizn</i> was an official publication of the Central Committee of the Communist Party of the Soviet Union and at its peak in the 1970s had a circulation of over one million copies. In the top left corner Prigov has twice amended the date of the letter with a blue ballpoint pen. ‘12 Feb 1977’ and ‘13 Feb 1977’ are crossed out, leaving ‘14 Feb 1977’. <i>The Fifth of May Has Long and Deservedly Counted Among the Stellar Days... </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-the-fifth-of-may-has-long-and-deservedly-counted-among-the-stellar-days-t14424\" title=\"View the details of this artwork\"><span>T14424</span></a>) refers to a long text about the foundation and the importance of <i>Pravda</i> (which translates as truth), the official newspaper of the Communist Party of the Soviet Union from 1912 to 1991. The text was first published on 5 May 1912 to coincide with Karl Marx’s birthday (22 April) according to the Russian calendar in use at that time. The biblical rhetoric of the Russian Orthodox Church provides further source material for the poetrygrams. <i>Trampling down death by death…</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-trampling-down-death-by-death-t14421\" title=\"View the details of this artwork\"><span>T14421</span></a>) is titled according to a quote from the Easter mass spoken by priests celebrating Jesus’s defeat of death through his resurrection, while <i>And Then They Will All Rise from Their Graves and Summon Us All to Account</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-and-then-they-will-all-rise-from-their-graves-and-summon-us-all-to-account-t14430\" title=\"View the details of this artwork\"><span>T14430</span></a>) is an apocalyptic reference.</p>\n<p>Other poetrygrams contain wordplay with more explicitly nihilistic or insidious allusions. In <i>Nothingness</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-nothingness-t14420\" title=\"View the details of this artwork\"><span>T14420</span></a>), the word is repeated in an elaborate pattern. <i>Be Prepared…</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-be-prepared-t14423\" title=\"View the details of this artwork\"><span>T14423</span></a>) consists of three intersecting sentences which translate as, ‘Be prepared for this idea’, ‘I am not ready for this idea’ and ‘I am ready for this idea’. <i>Please Vacate the Carriages. The Train Goes No Further </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-please-vacate-the-carriages-the-train-goes-no-further-t14429\" title=\"View the details of this artwork\"><span>T14429</span></a>) and <i>The Train Goes No Further! Please Vacate the Carriages… </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-the-train-goes-no-further-please-vacate-the-carriages-t14428\" title=\"View the details of this artwork\"><span>T14428</span></a>) share the same textual material. In the first, the sentences ‘Please vacate the carriages’ and ‘The train goes no further’ are repeated until they cross and swap position. In the latter, the sentence ‘The train goes no further! Please vacate the carriages!’ gradually alters to become ‘The enemy won’t pass. We won’t step back.’ The triumphant language in <i>Times Heroic In Lived We</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-times-heroic-in-lived-we-t14431\" title=\"View the details of this artwork\"><span>T14431</span></a>) refers to the patriotic slogans that followed Soviet sacrifices in the Second World War. However, the phrase ‘We lived in heroic times. Posterity, you must envy us!’ has been reordered to read ‘Times Heroic in Lived We. Envy Us, Posterity’. As a series the <i>Poetrygrams</i> document the artist’s experience and disruption of the institutional rhetoric of the Soviet Union.</p>\n<p>\n<b>Further reading</b>\n<br/>Alla Rosenfeld and Norton T. Dodge (eds.), <i>Nonconformist Art: The Soviet Experience, 1956–1986</i>, New York 1995.<br/>Ekaterina Degot (ed.), <i>Citizens! Please Mind Yourselves!</i>, exhibition catalogue, Moscow Museum of Modern Art, Moscow 2008, reproduced pp.241–2, 248–9, 254, 262, 264–5.<br/>Kirill Svetlyakov (ed.), <i>Dmitri Prigov: From Renaissance to Conceptualism and Beyond</i>, exhibition catalogue, State Tretyakov Gallery, Moscow 2014, reproduced pp.88, 90–1, 93.</p>\n<p>Julia Tatiana Bailey and Antonio Geusa<br/>February 2015</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-02-07T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1940–2007", "fc": "Dmitri Prigov", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/dmitri-prigov-22673" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 203699, "shortTitle": "Poetrygrams" }, { "id": 999999956, "shortTitle": "Collection" } ]

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[ { "artistRoomsTour": false, "dateText": "12 October 2017 – 17 December 2017", "endDate": "2017-12-17", "exhibitionLegs": [ { "dateText": "12 October 2017 – 17 December 2017", "endDate": "2017-12-17", "id": 11432, "startDate": "2017-10-12", "venueName": "Calvert 22 Foundation (London, UK)", "venueWebsiteUrl": null } ], "id": 9450, "startDate": "2017-10-12", "title": "Dmitry Prigov: Theatre of Revolutionary Action", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This work in ink on paper is from a larger group of works known as <i>Poetrygrams </i>(in Russian <i>stikhogrammi</i>), the name Dmitri Prigov gave to his visual poems. Each poetrygram is a single piece of paper bearing hand-typed text that functions as both a visual and literary work. Some of the pieces have been additionally marked up with correction fluid and ink from a felt-tip marker or ballpoint pen. In each poetrygram<i> </i>the typed words and lines of text are repeated numerous times and organised so as to create a visual image and plays on words, many of which are alluded to in the works’ titles. Prigov also regarded the process of their production, which involved the repetitious, monotonous typing of words and phrases on a typewriter, as a performance. He started making his poetrygrams<i> </i>in Moscow in 1975, taking inspiration from the futurist poems of Vladimir Mayakovsky (1893–1930) and his concern with breaking the rules of the printed page. The exact number and date of Prigov’s poetrygrams is unknown, with most made in the second half of the 1970s and in the 1980s.</p>\n<p>Around this time Prigov was one of the core group of first-generation nonconformist artists in Soviet Russia. He was a pioneer of Russian performance art and a cult figure in Moscow’s underground art community. Although trained as a sculptor, he was also a prolific poet, novelist and playwright. The intricate relationship between image and text that is a key feature of Moscow conceptualism is especially prevalent in his work. He referred to himself as ‘a worker, a labourer … both in the literary realm and that of visual art, on the border between them’, and explained: ‘In my works I attempt to unite these two realms’ (quoted in Günter Hirt and Sascha Wonders, ‘Dmitri A. Prigov: Textual Manipulator’, in Degot 2008, p.142). Prior to the increased openness and transparency in Russian institutions resulting from the policy of <i>glasnost</i> (freedom of speech) in the late 1980s, Prigov’s poems were circulated as <i>samizdat</i> – hand-produced copies of censored publications which passed secretly from reader to reader. From 1971 he also gave ‘performance-readings’ at unofficial exhibitions held in the private apartments and studios of artists including Ilya Kabakov and Andrei Monastyrski. In 1986, after his performances came to the attention of the Russian security services, the KGB, Prigov was briefly sectioned in a psychiatric hospital. A vocal campaign by artists and literary figures both in the Soviet Union and abroad secured his release. In 1988 Prigov held his first personal exhibition jointly with Boris Orlov in Chicago, and the following year his work began to be officially published and exhibited in Russia.</p>\n<p>The poetrygrams visually reference the typewritten texts of <i>samizdat</i> and have their aesthetic precedents in the concrete poetry movement of the 1950s and 1960s. However, Prigov’s visual poems would be better described as post-concrete as they subvert the intentions of those earlier works. Whereas in concrete poetry text is arranged in grid-like patterns to single out words as units of meaning, the poetrygrams consist of repeated lines of text that are often disrupted to such an extent that in places the words become illegible. The text of the poetrygrams incorporates political slogans, acronyms and clichés that were a common feature of Soviet life. The repetition of these phrases is suggestive of the monotony and prevalence of state rhetoric, so much so that it takes on its own architecture.</p>\n<p>Tate’s collection includes a group of sixteen poetrygrams, a selection from the larger series. They can be displayed individually or in groups. A number of them appropriate popular patriotic songs and poems from the Soviet Union. The text in <i>Wherever the Motherland May Send Us</i> 1978 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-wherever-the-motherland-may-send-us-t14416\" title=\"View the details of this artwork\"><span>T14416</span></a>) is written in transliterated form from the original Cyrillic and reads: ‘Wherever the Motherland may send us / Proudly, we’ll keep our word’. The first line is from poet Mikhail Isakovsky’s popular war song of 1948 entitled <i>Song of the Labour Reserves</i>. The words in<i> Stalin Raised Us for the Joy of the People... </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-stalin-raised-us-for-the-joy-of-the-people-t14417\" title=\"View the details of this artwork\"><span>T14417</span></a>) are from the national anthem of the Soviet Union between 1944 and 1977. The full sentence from which the quote is taken reads: ‘Stalin raised for the joy of the people / He inspired us to labour and heroic deeds’. In 1977 the opening three words were removed and substituted with ‘immortal ideas of Communism’, as part of the long process of ‘de-Stalinisation’ in the Soviet Union in the years after the leader’s death in 1953. The works <i>He Who Does Not Sing with Us Is Against Us... </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-he-who-does-not-sing-with-us-is-against-us-t14425\" title=\"View the details of this artwork\"><span>T14425</span></a>) and <i>And Life is Good and To Live is Good… </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-and-life-is-good-and-to-live-is-good-t14426\" title=\"View the details of this artwork\"><span>T14426</span></a>), were inspired by the revolutionary poems of Vladimir Mayakovsky. The first is a slogan based on his writings, and reads ‘He who does not sing with us is against us. He will be destroyed’. <i>And Life is Good and To Live is Good… </i>contains two verses from <i>Good! The Revolution Poem</i>, written by Mayakovsky in 1927. They translate as: ‘And life is good and to live is good, and it is even better for us fully charged and ready to fight’.</p>\n<p>Common political slogans also appear in the poetrygrams. <i>Our Cause is Just – We Will Win! </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-our-cause-is-just-we-will-win-t14418\" title=\"View the details of this artwork\"><span>T14418</span></a>) takes its title from a phrase from a 1941 speech by Vyacelav Molotov, the Soviet Minister of Foreign Affairs. The words were engraved around Stalin’s portrait on medals which were conferred to Soviet soldiers who had fought in Germany during the Second World War. To these words Prigov has added the phrase, ‘Hooray! Comrades!’. In the centre of the poetrygram Prigov’s signature is repeated three times next to the titles Secretary of the Communist Party, Secretary of the VLKSM (All-Union Leninist Young Communist League) and Chairman of the Trade Union. <i>A Spectre is Haunting Europe…</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-a-spectre-is-haunting-europe-t14422\" title=\"View the details of this artwork\"><span>T14422</span></a>) consists of two sentences which translate as: ‘A spectre is haunting Europe, comrades, the spectre of Communism’ and ‘Dark and sad spectre, you roam here until morning’. The first is the opening sentence of the <i>Manifesto of the Communist Party</i> by Karl Marx and Friedrich Engels, published in 1848, to which Prigov added the word ‘comrades’. The second sentence in the poetrygram is of Prigov’s invention and loosely refers to the ghost of the king in Shakespeare’s <i>Hamlet</i>. The work <i>Karl Marx, Friedrich Engels, Vladimir Lenin, Joseph Stalin... </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-karl-marx-friedrich-engels-vladimir-lenin-joseph-stalin-t14427\" title=\"View the details of this artwork\"><span>T14427</span></a>) is constructed through the repetition of the names of the principal ideologues and leaders of the Communist Party given in its title. The repetition of these four names is disrupted in the fortieth line where the names are muddled to read ‘Karl Engels, Friedrich Lenin, Vladimir Marx, Joseph Stalin’, and in the fiftieth where all the surnames are changed to Marx.</p>\n<p>Other works refer to the state-controlled media through which written propaganda was disseminated to the Soviet people, such as <i>Party Life </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-party-life-t14419\" title=\"View the details of this artwork\"><span>T14419</span></a>). The words <i>Partiinaia zhizn</i> (‘Party Life’) are repeated on the original headed notepaper of the Soviet magazine of the same name. Published fortnightly from 1919 to 1990, <i>Partiinaia zhizn</i> was an official publication of the Central Committee of the Communist Party of the Soviet Union and at its peak in the 1970s had a circulation of over one million copies. In the top left corner Prigov has twice amended the date of the letter with a blue ballpoint pen. ‘12 Feb 1977’ and ‘13 Feb 1977’ are crossed out, leaving ‘14 Feb 1977’. <i>The Fifth of May Has Long and Deservedly Counted Among the Stellar Days... </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-the-fifth-of-may-has-long-and-deservedly-counted-among-the-stellar-days-t14424\" title=\"View the details of this artwork\"><span>T14424</span></a>) refers to a long text about the foundation and the importance of <i>Pravda</i> (which translates as truth), the official newspaper of the Communist Party of the Soviet Union from 1912 to 1991. The text was first published on 5 May 1912 to coincide with Karl Marx’s birthday (22 April) according to the Russian calendar in use at that time. The biblical rhetoric of the Russian Orthodox Church provides further source material for the poetrygrams. <i>Trampling down death by death…</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-trampling-down-death-by-death-t14421\" title=\"View the details of this artwork\"><span>T14421</span></a>) is titled according to a quote from the Easter mass spoken by priests celebrating Jesus’s defeat of death through his resurrection, while <i>And Then They Will All Rise from Their Graves and Summon Us All to Account</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-and-then-they-will-all-rise-from-their-graves-and-summon-us-all-to-account-t14430\" title=\"View the details of this artwork\"><span>T14430</span></a>) is an apocalyptic reference.</p>\n<p>Other poetrygrams contain wordplay with more explicitly nihilistic or insidious allusions. In <i>Nothingness</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-nothingness-t14420\" title=\"View the details of this artwork\"><span>T14420</span></a>), the word is repeated in an elaborate pattern. <i>Be Prepared…</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-be-prepared-t14423\" title=\"View the details of this artwork\"><span>T14423</span></a>) consists of three intersecting sentences which translate as, ‘Be prepared for this idea’, ‘I am not ready for this idea’ and ‘I am ready for this idea’. <i>Please Vacate the Carriages. The Train Goes No Further </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-please-vacate-the-carriages-the-train-goes-no-further-t14429\" title=\"View the details of this artwork\"><span>T14429</span></a>) and <i>The Train Goes No Further! Please Vacate the Carriages… </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-the-train-goes-no-further-please-vacate-the-carriages-t14428\" title=\"View the details of this artwork\"><span>T14428</span></a>) share the same textual material. In the first, the sentences ‘Please vacate the carriages’ and ‘The train goes no further’ are repeated until they cross and swap position. In the latter, the sentence ‘The train goes no further! Please vacate the carriages!’ gradually alters to become ‘The enemy won’t pass. We won’t step back.’ The triumphant language in <i>Times Heroic In Lived We</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-times-heroic-in-lived-we-t14431\" title=\"View the details of this artwork\"><span>T14431</span></a>) refers to the patriotic slogans that followed Soviet sacrifices in the Second World War. However, the phrase ‘We lived in heroic times. Posterity, you must envy us!’ has been reordered to read ‘Times Heroic in Lived We. Envy Us, Posterity’. As a series the <i>Poetrygrams</i> document the artist’s experience and disruption of the institutional rhetoric of the Soviet Union.</p>\n<p>\n<b>Further reading</b>\n<br/>Alla Rosenfeld and Norton T. Dodge (eds.), <i>Nonconformist Art: The Soviet Experience, 1956–1986</i>, New York 1995.<br/>Ekaterina Degot (ed.), <i>Citizens! Please Mind Yourselves!</i>, exhibition catalogue, Moscow Museum of Modern Art, Moscow 2008, reproduced pp.241–2, 248–9, 254, 262, 264–5.<br/>Kirill Svetlyakov (ed.), <i>Dmitri Prigov: From Renaissance to Conceptualism and Beyond</i>, exhibition catalogue, State Tretyakov Gallery, Moscow 2014, reproduced pp.88, 90–1, 93.</p>\n<p>Julia Tatiana Bailey and Antonio Geusa<br/>February 2015</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-02-07T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1940–2007", "fc": "Dmitri Prigov", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/dmitri-prigov-22673" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 203699, "shortTitle": "Poetrygrams" }, { "id": 999999956, "shortTitle": "Collection" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This work in ink on paper is from a larger group of works known as <i>Poetrygrams </i>(in Russian <i>stikhogrammi</i>), the name Dmitri Prigov gave to his visual poems. Each poetrygram is a single piece of paper bearing hand-typed text that functions as both a visual and literary work. Some of the pieces have been additionally marked up with correction fluid and ink from a felt-tip marker or ballpoint pen. In each poetrygram<i> </i>the typed words and lines of text are repeated numerous times and organised so as to create a visual image and plays on words, many of which are alluded to in the works’ titles. Prigov also regarded the process of their production, which involved the repetitious, monotonous typing of words and phrases on a typewriter, as a performance. He started making his poetrygrams<i> </i>in Moscow in 1975, taking inspiration from the futurist poems of Vladimir Mayakovsky (1893–1930) and his concern with breaking the rules of the printed page. The exact number and date of Prigov’s poetrygrams is unknown, with most made in the second half of the 1970s and in the 1980s.</p>\n<p>Around this time Prigov was one of the core group of first-generation nonconformist artists in Soviet Russia. He was a pioneer of Russian performance art and a cult figure in Moscow’s underground art community. Although trained as a sculptor, he was also a prolific poet, novelist and playwright. The intricate relationship between image and text that is a key feature of Moscow conceptualism is especially prevalent in his work. He referred to himself as ‘a worker, a labourer … both in the literary realm and that of visual art, on the border between them’, and explained: ‘In my works I attempt to unite these two realms’ (quoted in Günter Hirt and Sascha Wonders, ‘Dmitri A. Prigov: Textual Manipulator’, in Degot 2008, p.142). Prior to the increased openness and transparency in Russian institutions resulting from the policy of <i>glasnost</i> (freedom of speech) in the late 1980s, Prigov’s poems were circulated as <i>samizdat</i> – hand-produced copies of censored publications which passed secretly from reader to reader. From 1971 he also gave ‘performance-readings’ at unofficial exhibitions held in the private apartments and studios of artists including Ilya Kabakov and Andrei Monastyrski. In 1986, after his performances came to the attention of the Russian security services, the KGB, Prigov was briefly sectioned in a psychiatric hospital. A vocal campaign by artists and literary figures both in the Soviet Union and abroad secured his release. In 1988 Prigov held his first personal exhibition jointly with Boris Orlov in Chicago, and the following year his work began to be officially published and exhibited in Russia.</p>\n<p>The poetrygrams visually reference the typewritten texts of <i>samizdat</i> and have their aesthetic precedents in the concrete poetry movement of the 1950s and 1960s. However, Prigov’s visual poems would be better described as post-concrete as they subvert the intentions of those earlier works. Whereas in concrete poetry text is arranged in grid-like patterns to single out words as units of meaning, the poetrygrams consist of repeated lines of text that are often disrupted to such an extent that in places the words become illegible. The text of the poetrygrams incorporates political slogans, acronyms and clichés that were a common feature of Soviet life. The repetition of these phrases is suggestive of the monotony and prevalence of state rhetoric, so much so that it takes on its own architecture.</p>\n<p>Tate’s collection includes a group of sixteen poetrygrams, a selection from the larger series. They can be displayed individually or in groups. A number of them appropriate popular patriotic songs and poems from the Soviet Union. The text in <i>Wherever the Motherland May Send Us</i> 1978 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-wherever-the-motherland-may-send-us-t14416\" title=\"View the details of this artwork\"><span>T14416</span></a>) is written in transliterated form from the original Cyrillic and reads: ‘Wherever the Motherland may send us / Proudly, we’ll keep our word’. The first line is from poet Mikhail Isakovsky’s popular war song of 1948 entitled <i>Song of the Labour Reserves</i>. The words in<i> Stalin Raised Us for the Joy of the People... </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-stalin-raised-us-for-the-joy-of-the-people-t14417\" title=\"View the details of this artwork\"><span>T14417</span></a>) are from the national anthem of the Soviet Union between 1944 and 1977. The full sentence from which the quote is taken reads: ‘Stalin raised for the joy of the people / He inspired us to labour and heroic deeds’. In 1977 the opening three words were removed and substituted with ‘immortal ideas of Communism’, as part of the long process of ‘de-Stalinisation’ in the Soviet Union in the years after the leader’s death in 1953. The works <i>He Who Does Not Sing with Us Is Against Us... </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-he-who-does-not-sing-with-us-is-against-us-t14425\" title=\"View the details of this artwork\"><span>T14425</span></a>) and <i>And Life is Good and To Live is Good… </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-and-life-is-good-and-to-live-is-good-t14426\" title=\"View the details of this artwork\"><span>T14426</span></a>), were inspired by the revolutionary poems of Vladimir Mayakovsky. The first is a slogan based on his writings, and reads ‘He who does not sing with us is against us. He will be destroyed’. <i>And Life is Good and To Live is Good… </i>contains two verses from <i>Good! The Revolution Poem</i>, written by Mayakovsky in 1927. They translate as: ‘And life is good and to live is good, and it is even better for us fully charged and ready to fight’.</p>\n<p>Common political slogans also appear in the poetrygrams. <i>Our Cause is Just – We Will Win! </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-our-cause-is-just-we-will-win-t14418\" title=\"View the details of this artwork\"><span>T14418</span></a>) takes its title from a phrase from a 1941 speech by Vyacelav Molotov, the Soviet Minister of Foreign Affairs. The words were engraved around Stalin’s portrait on medals which were conferred to Soviet soldiers who had fought in Germany during the Second World War. To these words Prigov has added the phrase, ‘Hooray! Comrades!’. In the centre of the poetrygram Prigov’s signature is repeated three times next to the titles Secretary of the Communist Party, Secretary of the VLKSM (All-Union Leninist Young Communist League) and Chairman of the Trade Union. <i>A Spectre is Haunting Europe…</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-a-spectre-is-haunting-europe-t14422\" title=\"View the details of this artwork\"><span>T14422</span></a>) consists of two sentences which translate as: ‘A spectre is haunting Europe, comrades, the spectre of Communism’ and ‘Dark and sad spectre, you roam here until morning’. The first is the opening sentence of the <i>Manifesto of the Communist Party</i> by Karl Marx and Friedrich Engels, published in 1848, to which Prigov added the word ‘comrades’. The second sentence in the poetrygram is of Prigov’s invention and loosely refers to the ghost of the king in Shakespeare’s <i>Hamlet</i>. The work <i>Karl Marx, Friedrich Engels, Vladimir Lenin, Joseph Stalin... </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-karl-marx-friedrich-engels-vladimir-lenin-joseph-stalin-t14427\" title=\"View the details of this artwork\"><span>T14427</span></a>) is constructed through the repetition of the names of the principal ideologues and leaders of the Communist Party given in its title. The repetition of these four names is disrupted in the fortieth line where the names are muddled to read ‘Karl Engels, Friedrich Lenin, Vladimir Marx, Joseph Stalin’, and in the fiftieth where all the surnames are changed to Marx.</p>\n<p>Other works refer to the state-controlled media through which written propaganda was disseminated to the Soviet people, such as <i>Party Life </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-party-life-t14419\" title=\"View the details of this artwork\"><span>T14419</span></a>). The words <i>Partiinaia zhizn</i> (‘Party Life’) are repeated on the original headed notepaper of the Soviet magazine of the same name. Published fortnightly from 1919 to 1990, <i>Partiinaia zhizn</i> was an official publication of the Central Committee of the Communist Party of the Soviet Union and at its peak in the 1970s had a circulation of over one million copies. In the top left corner Prigov has twice amended the date of the letter with a blue ballpoint pen. ‘12 Feb 1977’ and ‘13 Feb 1977’ are crossed out, leaving ‘14 Feb 1977’. <i>The Fifth of May Has Long and Deservedly Counted Among the Stellar Days... </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-the-fifth-of-may-has-long-and-deservedly-counted-among-the-stellar-days-t14424\" title=\"View the details of this artwork\"><span>T14424</span></a>) refers to a long text about the foundation and the importance of <i>Pravda</i> (which translates as truth), the official newspaper of the Communist Party of the Soviet Union from 1912 to 1991. The text was first published on 5 May 1912 to coincide with Karl Marx’s birthday (22 April) according to the Russian calendar in use at that time. The biblical rhetoric of the Russian Orthodox Church provides further source material for the poetrygrams. <i>Trampling down death by death…</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-trampling-down-death-by-death-t14421\" title=\"View the details of this artwork\"><span>T14421</span></a>) is titled according to a quote from the Easter mass spoken by priests celebrating Jesus’s defeat of death through his resurrection, while <i>And Then They Will All Rise from Their Graves and Summon Us All to Account</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-and-then-they-will-all-rise-from-their-graves-and-summon-us-all-to-account-t14430\" title=\"View the details of this artwork\"><span>T14430</span></a>) is an apocalyptic reference.</p>\n<p>Other poetrygrams contain wordplay with more explicitly nihilistic or insidious allusions. In <i>Nothingness</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-nothingness-t14420\" title=\"View the details of this artwork\"><span>T14420</span></a>), the word is repeated in an elaborate pattern. <i>Be Prepared…</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-be-prepared-t14423\" title=\"View the details of this artwork\"><span>T14423</span></a>) consists of three intersecting sentences which translate as, ‘Be prepared for this idea’, ‘I am not ready for this idea’ and ‘I am ready for this idea’. <i>Please Vacate the Carriages. The Train Goes No Further </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-please-vacate-the-carriages-the-train-goes-no-further-t14429\" title=\"View the details of this artwork\"><span>T14429</span></a>) and <i>The Train Goes No Further! Please Vacate the Carriages… </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-the-train-goes-no-further-please-vacate-the-carriages-t14428\" title=\"View the details of this artwork\"><span>T14428</span></a>) share the same textual material. In the first, the sentences ‘Please vacate the carriages’ and ‘The train goes no further’ are repeated until they cross and swap position. In the latter, the sentence ‘The train goes no further! Please vacate the carriages!’ gradually alters to become ‘The enemy won’t pass. We won’t step back.’ The triumphant language in <i>Times Heroic In Lived We</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/prigov-times-heroic-in-lived-we-t14431\" title=\"View the details of this artwork\"><span>T14431</span></a>) refers to the patriotic slogans that followed Soviet sacrifices in the Second World War. However, the phrase ‘We lived in heroic times. Posterity, you must envy us!’ has been reordered to read ‘Times Heroic in Lived We. Envy Us, Posterity’. As a series the <i>Poetrygrams</i> document the artist’s experience and disruption of the institutional rhetoric of the Soviet Union.</p>\n<p>\n<b>Further reading</b>\n<br/>Alla Rosenfeld and Norton T. Dodge (eds.), <i>Nonconformist Art: The Soviet Experience, 1956–1986</i>, New York 1995.<br/>Ekaterina Degot (ed.), <i>Citizens! Please Mind Yourselves!</i>, exhibition catalogue, Moscow Museum of Modern Art, Moscow 2008, reproduced pp.241–2, 248–9, 254, 262, 264–5.<br/>Kirill Svetlyakov (ed.), <i>Dmitri Prigov: From Renaissance to Conceptualism and Beyond</i>, exhibition catalogue, State Tretyakov Gallery, Moscow 2014, reproduced pp.88, 90–1, 93.</p>\n<p>Julia Tatiana Bailey and Antonio Geusa<br/>February 2015</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-02-07T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1940–2007", "fc": "Dmitri Prigov", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/dmitri-prigov-22673" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 203699, "shortTitle": "Poetrygrams" }, { "id": 999999956, "shortTitle": "Collection" } ]

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