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[ { "append_role_to_name": false, "date": "born 1966", "fc": "Jeremy Deller", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/jeremy-deller-3034" } ]

[ { "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>Beyond the White Walls</i> 2012 is a video that takes the form of a slide show of images, with spoken commentary by the artist, documenting projects and artworks that he has carried out in the public domain over a twenty-year period. The work was originally made for Deller’s retrospective solo exhibition <i>Joy in People</i> at the Hayward Gallery, London, in 2012. It records performative and ephemeral projects – designed for a specific context with a limited lifespan – that are not easily represented in the gallery in a conventional way, as the title suggests. The work can be installed in its own room with a mural surrounding the entrance depicting a giant pair of staring eyes and a gaping mouth through which the viewer walks. The video can also be displayed on a monitor as long as it is large enough for the text to be read easily. The work exists in an edition of three, of which this copy is number three.</p>\n<p>The video begins with Deller describing his earliest experiments with works intended for public circulation through covert interventions, from fly posters designed for student notice boards and nightclubs, to car bumper stickers, banknotes and t-shirts bearing slogans. Such projects, while often slight in nature, reflect Deller’s desire from the outset to make work that is only truly activated in the public realm, either by intercepting unsuspecting passers-by or through orchestrated events that bring together different cultural traditions and social groups. Projects such as <i>Brian Epstein Died for You</i> 1994 and <i>Butterfly Ball</i> 1995 reveal Deller’s interest in eccentric individuals who have nevertheless had a significant impact on British culture (Beatles manager Brian Epstein and nightclub owner Peter Stringfellow respectively). <i>Unconvention</i> 1998 documents an exhibition of artworks and events held at Cardiff’s Centre for Visual Arts based on Welsh band the Manic Street Preachers’ political beliefs, intellectual interests and ‘tastes in art’. Other projects include <i>Folk Archive</i> 1998–2005, his collaboration with Alan Kane (born 1961) documenting and collecting the vernacular culture of Britain, and public commissions such as <i>Speak to the Earth and It Will Tell You</i> 2007–17 (a long-term ongoing project with the Klein Gardens in Munster for Skulptur Projekte Munster in which participants are creating scrapbooks over a ten year period) and <i>Risk Assessment</i> 2008, a work for Folkestone Triennial in which local residents were invited to perform unannounced slapstick actions throughout the town.</p>\n<p>Despite the disparate nature of Deller’s projects, <i>Beyond the White Walls</i> reveals the threads and themes that recur throughout his work and that continue to characterise his practice: namely, his non-hierarchical approach to culture in its broadest sense; a self-awareness of his position as a middle class, public-school-educated man; his belief in the power of fandom; the necessity of a certain level of humour and embarrassment; the importance of displaying failures as well as successes; the relationship of the individual to the collective, and the private to the public; and his desire to make visible the myriad and unconventional paths to knowledge. As such, <i>Beyond the White Walls</i> acts as an anthology of Deller’s artistic strategy and the breadth of his work from his early days as a student to public commissions some twenty years later. The video also offers a view of life in Britain at the end of the twentieth and beginning of the twenty-first centuries.</p>\n<p>\n<b>Further reading</b>\n<br/>Jeremy Deller, <i>Epstein</i>, Liverpool 2007.<br/>\n<i>Jeremy Deller: It Is What It Is</i>, exhibition catalogue, New Museum of Contemporary Art, New York 2011.<br/>\n<i>Jeremy Deller: Joy in People</i>, exhibition catalogue, Hayward Gallery, London 2012.</p>\n<p>Lizzie Carey-Thomas<br/>August 2015</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-04-24T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1942–1994", "fc": "Derek Jarman", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/derek-jarman-2327" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999780, "shortTitle": "Tate Patrons" }, { "id": 999999956, "shortTitle": "Collection" } ]

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[ { "artistRoomsTour": false, "dateText": "21 October 2013 – 19 October 2014", "endDate": "2014-10-19", "exhibitionLegs": [ { "dateText": "21 October 2013 – 19 October 2014", "endDate": "2014-10-19", "id": 8564, "startDate": "2013-10-21", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 7028, "startDate": "2013-10-21", "title": "Derek Jarman", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "1 May 2017 – 19 November 2017", "endDate": "2017-11-19", "exhibitionLegs": [ { "dateText": "1 May 2017 – 19 November 2017", "endDate": "2017-11-19", "id": 11292, "startDate": "2017-05-01", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 9334, "startDate": "2017-05-01", "title": "Derek Jarman, Blue", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Blue </i>1993 is a film by the British artist and filmmaker Derek Jarman which features a single static shot of the colour blue with a voiceover and musical soundtrack. The voiceover, written by Jarman, consists of a diaristic and poetic text documenting his AIDS-related illness and impending death at a time that he had become partially blind, his vision often interrupted by blue light. The film is Jarman’s last feature and was completed only a few months before he died. Consequently, <i>Blue</i> forms a direct counterpart to the late painting <i>Ataxia - Aids is Fun </i>1993 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/jarman-ataxia-aids-is-fun-t06768\" title=\"View the details of this artwork\"><span>T06768</span></a>) in its evocation of Jarman’s final illness, albeit from a very different standpoint.</p>\n<p>The visual language of <i>Blue</i> – an unchanging blue screen – directly references Yves Klein’s (1928–1962) evocation of the void and zones of immateriality through his use of the colour ‘International Klein Blue’ (see, for instance, Klein’s <i>IKB 79</i> 1959, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/klein-ikb-79-t01513\" title=\"View the details of this artwork\"><span>T01513</span></a>). The film’s voiceover is spoken by Jarman alongside long-term collaborators Tilda Swinton, Nigel Terry and John Quentin. The text – often spoken as a form of verse – is augmented by music and sound by Jarman’s regular composer Simon Fisher-Turner, as well as Coil, Momus, Karol Szymanowski and Eric Satie.</p>\n<p>The genesis of <i>Blue</i> dates back to 1987 when Jarman conceived of a film – initially tentatively titled <i>International Blue</i> (alternative early titles include <i>Blue is Poison</i> and <i>My Blue Heaven</i>) – that directly engaged with Klein’s painting and underlying philosophy. Jarman’s initial proposal was for a film that might explore: ‘the juxtaposition of sound and image that exists in <i>The Last of England </i>[a feature film made by Jarman in 1987], but unlike this film to produce an atmosphere of calm and joy. A world to which refugees from that dark space may journey.’ (Derek Jarman, ‘proposal for <i>Blue</i>’, August 1987, quoted in Peake 1999, p.398.) The film, even at this very early stage of development, was always conceived to be an imageless projected screen of International Klein Blue complemented by a soundtrack that would tell the story of Klein ‘in sound and jazzy be-bop’ (Jarman 1987, quoted in Peake 1999, p.398). However, because such an approach would have inevitably rendered the film virtually impossible to fund, he then planned for the film to be a masque set in a blue room.</p>\n<p>As Jarman developed his ideas for the film over ensuing years, texts by Klein were augmented by related texts by other artists and writers and then finally by Jarman himself. As his illness took greater hold, and Channel 4 agreed to fund the development of the script, the film’s subject moved from a concentration on Klein to one that conveyed a wider myth about a journey through London (this version was titled <i>Blueprint for Bliss</i> or <i>Bliss</i>). The film became less about Klein and both more social and personal before it then evolved, as <i>Pansy</i>, into ‘a musical film covering anti-queer legislation from the 60s to the 80s’ – a script that was rejected by Channel 4 (Derek Jarman and Malcolm Sutherland quoted in Peake 1999, p.477).</p>\n<p>By the end of 1992 Jarman returned once again to <i>Blue</i> as he had originally conceived it, with a blue screen devoid of imagery so that nothing would detract from ‘the admirable austerity of the void’ (Jarman and Sutherland quoted in Peake 1999, p.477). The film became a meditation on colour, the void and his disease. Jarman felt that he had previously failed to address AIDS through film in the way he had done through his late paintings. By accompanying a field of blue with a richly layered soundtrack, he finally succeeded in addressing this subject with film by creating an elegiac journey towards a zone of immateriality. Jarman explained in a late proposal for the film: ‘The monochrome is an alchemy, effective liberation from personality. It articulates silence. It is a fragment of an immense work without limit. The blue of the landscape of liberty.’ (Jarman 1987, quoted in Peake 1999, p.515.)</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Blue: Text of a Film by Derek Jarman</i>, London 1993.<br/>Derek Jarman, <i>Chroma: A Book of Colour </i>– <i>June ’93</i>, London 1994.<br/>Tony Peake, <i>Derek Jarman</i>, London 1999.</p>\n<p>Andrew Wilson<br/>November 2013</p>\n</div>\n", "display_name": "Summary", "publication_date": "2016-06-15T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1981", "fc": "Dineo Seshee Bopape", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/dineo-seshee-bopape-18976" } ]

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

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[ { "artistRoomsTour": false, "dateText": "4 October 2022", "endDate": null, "exhibitionLegs": [ { "dateText": "4 October 2022", "endDate": null, "id": 15060, "startDate": "2022-10-04", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 12381, "startDate": "2022-10-04", "title": "Dineo Seshee Bopape", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>is i am sky </i>by Dineo Seshee Bopape is a single-screen video projection with sound that shows the artist’s face merging with her surroundings as she walks through a landscape. The video is shot in extreme close-up and from a low angle, so that the viewer can see the artist’s face and a restricted view of the trees, the ground, and the sky above. As she moves, the artist’s face fades in and out of view, appearing patchy as it is intercepted by the background scene. At times Bopape’s face doubles or triples, the skin of these additional faces obscured so that only the eyes, nose and mouth are visible. The video’s soundtrack consists of birds singing, tinkling noises, vocal music and drumbeats that repeat in fast patterns. As the video goes on, Bopape’s features begin to merge with spillages of colour, cosmic imagery and black space. The soundtrack slowly progresses towards crashing percussive sounds and sustained notes as the cosmic imagery takes over the frame, and the video ends with Bopape’s face almost entirely obscured. When displayed, the video is projected at a large scale in a dark room. The version held by Tate is number two in an edition of three plus one artist’s proof.</p>\n<p>The work was conceived and filmed in San Francisco in 2011 when Bopape was undertaking an artist’s residency at Headlands Center for the Arts. She set out into the Californian landscape alone and recorded the footage for <i>is i am sky </i>with a small hand-held camera. As she walked, Bopape recorded herself singing using minimal equipment. She also recorded the sound of the wind while she sang, allowing the harsh Californian gusts to brush against her unprotected microphone.</p>\n<p>Bopape made <i>is i am sky</i> in response to the trial of former African National Congress Youth League President Julius Malema that was taking place in South Africa in 2011. A prominent activist, Malema was convicted of hate speech after singing the contentious struggle song ‘Ayasaba Amagwala, dubuli bhunu’, which translates to ‘The cowards are scared. Kill the Boer [white farmer]’. In response, Bopape performed the African Cream Freedom Choir’s song ‘Hamba Kahle Mkhonto’ for Malema while filming herself walking through the landscape. This song was often sung during South African apartheid – the institutional racial oppression against the country’s BIPOC (Black, indigenous and people of colour) majority from the 1940s to the 1990s – and is widely sung at funerals in the country as a reconciliation and gesture towards farewell. In <i>is i am sky</i>, the soothing quality of Bopape’s singing voice contrasts with the abrasiveness of the wind, hinting at the resistance faced by those fighting for freedom of speech.</p>\n<p>The title of the work refers to jazz composer Sun Ra’s 1972 poem ‘The Endless Realm’, which begins: ‘I have nothing / Nothing! / How really is I am…’. Bopape’s video echoes Sun Ra’s celebration of cosmic infinity as a frontier for Black liberation. As the work progresses, Bopape’s face becomes an expanding gateway into the vastness of the universe, and she increasingly blurs the markers of her identity. Describing the video, the artist has said: ‘I was trying to find a way of marrying the sky’, to merge with the ‘space that nothing occupies’ (Dineo Seshee Bopape, conversation with Tate curators, 2019). According to curator Portia Malatjie, through the chaotic merging of cosmic imagery with the face, sky, landscape, bursts of colour and sonic disorientation, <i>is i am sky</i> enacts further liberation by ‘construct[ing] an alternate existence where the memories of black people are made visible and given space to unfold’ (Malatjie 2019, p.7).</p>\n<p>\n<i>is i am sky</i> was first exhibited in June 2013 in Bopape’s second solo show, <i>Kgoro ya go tšwa: Even if you fall from a circle</i> at Stevenson Gallery in Cape Town. Reviewing the exhibition, critic Athi Mongezeleli Joja wrote, ‘[in] <i>is i am sky</i>, the issues of exiting and loss are profoundly suggested’ (Joja 2013, accessed 22 August 2022). This can be seen in the mourning song that Bopape sings, and in the shifting visibility and invisibility of her face throughout. Loss and departure are common themes in Bopape’s wider practice, which ranges from video, miniature paintings and drawings to large-scale, site-specific installations. In <i>Untitled (Of Occult Instability) [Feelings] </i>2016–18 she explored issues of sexual violence in a room-based installation. Bathed in an orange hue, it was filled with scattered objects and videos including footage of the singer Nina Simone suffering a breakdown onstage as a result of bipolar disorder. <i>Master Harmoniser </i>2021 is<i> </i>a collection of over 1,000 drawings connecting African and North American locations. The drawings feature a sea of waves and were made using clay and soil partly taken from the Island of Gorée off the coast of Dakar, Senegal, which was a departure point from the African continent for the Atlantic slave trade. Linking places and histories in a transhistorical manner in these works and in <i>is i am sky</i>, Bopape ensures that what has been forgotten can be remembered, seen and questioned.</p>\n<p>\n<b>Further reading</b>\n<br/>Athi Mongezeleli Joja, ‘Dineo Seshee Bopape at Stevenson in Cape Town’, <i>ArtThrob</i>, June–July 2013, <a href=\"http://www.artthrob.co.za/Reviews/Athi_Mongezeleli_Joja__reviews_Kgoro_ya_go_Tswa_by_Dineo_Seshee_Bopape_at_Stevenson_in_Cape_Town.aspx\">http://www.artthrob.co.a/Revews/Athi_Mongezeleli_Joja__reviews_Kgoro_ya_go_Tswa_by_Dineo_Seshee_Bopape_at_Stevenson_inCape_Town.aspx</a>, accessed 22 August 2022.<br/>Sean O’Toole and Dineo Seshee Bobape, ‘Interview’, in <i>My Joburg</i>, exhibition catalogue, La Maison Rouge, Paris 2013.<br/>Portia Malatjie, ‘Nang’umfazomnyama: Race and Technology in Dineo Seshee Bopape’s <i>is i am sky</i>’, <i>Afterall</i>, no.48, Autumn/Winter 2019, pp.4–11.</p>\n<p>Elvira Dyangani Ose<br/>September 2013<br/>Revised by Valentine Umansky, Michael Raymond and Celia Delahunt<br/>August 2022</p>\n</div>\n", "display_name": "Summary", "publication_date": "2022-08-22T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1969", "fc": "Naeem Mohaiemen", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/naeem-mohaiemen-18178" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>United Red Army</i> 2012 is a seventy-minute-long video with sound that forms part of the artist’s series <i>The Young Man Was</i> 2012–16. This group of works is based on a research-led process in which Mohaiemen excavates historic and archival material looking for anecdotes and moments which illuminate an ongoing history of failures of radical left movements, or what he refers to as the ‘ultra-left’. Mohaiemen focuses on the history of his native Bangladesh, but highlights points of intersection or rupture between radical movements, annotating and destabilising received or established versions of their often incomplete histories. Reviewing the Sharjah Biennial in 2011, in which Mohaiemen showed work from this series, Kaelen Wilson Goldie wrote: ‘Though broadly concerned with failed utopias, the project pursues a specific thesis: that the revolutionary movements of the 1970s gave the left an accidental Trojan horse by giving rise to a reactionary, counterrevolutionary right.’ (Goldie 2011, p.128.<i>)</i>\n</p>\n<p>\n<i>United Red Army</i> has a multi-layered audio narrative and can be screened in an auditorium or gallery space. The work consists of subtitled audio recordings, images and footage from television, and a voice-over by the artist layering a personal narrative over the historical material. The title refers to a faction of the Japanese Red Army, a communist militant group formed in Lebanon in the early 1970s seeking the overthrow of the Japanese monarchy, which became known as the United Red Army when it combined with a Maoist group in Japan. Close to the Palestinian Liberation Organisation, which was then seen as a model of armed resistance by international guerrilla movements, the United Red Army was responsible for a series of hijack attempts, in this case the hijacking in 1977 of Japan Airlines flight JAL 472 which they forced to land in Dhaka, Bangladesh when Mohaiemen was just a child.</p>\n<p>The film is overlaid in sections with personal nuances; it opens with the impact on the eight-year-old Mohaiemen when news coverage of the hijacking interrupts the transmission of his favourite programme, <i>The Zoo Gang</i>,<i> </i>an American television show about four World War II veterans who regroup to fight crime<i>. </i>The large part of the <i>United Red Army</i> consists of the compelling audio recordings, which Mohaiemen unearthed years later, of the conversations between the negotiator in the air traffic control tower and the hijackers, interspersed with found footage from popular media. The tones of their voices and the nature of the dialogue reveal the tension and building up of a relationship between ‘Dhaka Tower’, subtitled in green, and ‘Dankesu’, subtitled in red, the pseudonyms used by the chief negotiator and United Red Army spokesperson. </p>\n<p>The plane remained on the runway in Dhaka from 28 September 28 to 2 October, during which time the Japanese government arranged a prisoner exchange. The hijackers had not bargained for local conditions in Bangladesh, which was just recovering from a military coup. Mohaiemen weaves into the narrative images – taken by Japanese tourists on board the plane – of what was a side-show during the international event but a significant moment in the history of Bangladesh: a battalion of left-leaning soldiers with shared Maoist ideals attempted to stage a counter-coup against the military government of General Zia ur Rehman, and tried to storm the airport. Mohaiemen wove this material into the narrative, retaining its subversive and hidden nature, building the plot of his film in layers that allow different chronologies to emerge, including footage from films starring Carole Wells, an actress who was coincidentally one of the hostages. Eleven of the rebelling soldiers were killed on the tarmac; the only publicly accessible evidence of these events comes from the photographs taken by the hostages on board the plane. In the film, the tones of the negotiators change from banter discussing their ideological differences to terse commands, the Dhaka Tower urging Dankesu to turn his weapons on the mutinying soldiers, ‘Without hesitation, shoot those people, shoot to kill!.’ Dankesu’s wary response is, ‘I have understood that you have internal problems.’</p>\n<p>While the hijacking ended with the safe release of 156 passengers in exchange for nine prisoners (after the plane made further stops in Kuwait City and Damascus), the coup in Bangladesh led to further internal violence and repression. Mohaiemen wrote in his short introduction to the work, ‘Behind the scenes is the secret history of a military coup, which was attempted inside the Bangladesh Air Force while the hijack was going on. The Japanese know only the “peaceful end” to the hijack, while on the Bangladesh side there was tremendous collateral damage.’(Mohaiemen, 2013)</p>\n<p>\n<i>United Red Army</i> relates to contemporary concerns regarding the veracity and stability of historic archives and the need to explore cosmopolitan histories beyond the official version. Within his own project, Mohaiemen considers this film one element in a multi-pronged approach to fragmented histories that are difficult to capture and collect. Combining text, audio and found images, Mohaiemen also engages with the nature of the mediatised image and of what has been called the ‘poor’ or low-quality image. As citizen journalism grows and images captured and transmitted in real time on devices such as mobile phones become the norm, this work explores an early instance of the ‘tourist turned hostage turned witness’ (Goldie 2011, p.128). Mohaiemen also explored the subject in the work <i>My Mobile Weighs a Ton </i>2008, a piece consisting of photographs taken on his mobile phone in the aftermath of a riot in Dhaka. </p>\n<p>\n<b>Further reading</b>\n<br/>Kaelen Wilson Goldie, ‘Sharjah Biennial 10: Plot for a Biennial’<i>, Bidoun</i>, vol.25, 2011, pp.128–9.<br/>Murtaza Vali, ‘Complicating the History of the Left’,<i> Blouin Artinfo</i>, February 2012, <a href=\"http://www.blouinartinfo.com/news/story/760433/complicating-the-history-of-the-left\">http://www.blouinartinfo.com/news/story/760433/complicating-the-history-of-the-left</a>, accessed 15 April 2013. <br/>Sarinah Masukor, ‘The Already Too Late – An Archive of Beautiful Doubt’, <i>Lux online</i>, 4 October, 2016, <a href=\"https://lux.org.uk/writing/new-artist-focus-sarinah-masukor-naeem-mohaiemen\">https://lux.org.uk/writing/new-artist-focus-sarinah-masukor-naeem-mohaiemen</a>, accessed 6 November 2018.<br/>Sarinah Masukor, ‘Left Behind?’, <i>frieze</i>, 19 February 2018, <a href=\"https://frieze.com/article/left-behind\">https://frieze.com/article/left-behind</a>, accessed 6 November 2018.</p>\n<p>Nada Raza<br/>April 2013, updated November 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-01-21T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1900–1967", "fc": "Oskar Fischinger", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/oskar-fischinger-12568" } ]

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

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

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[ { "append_role_to_name": false, "date": "born 1950", "fc": "Sir Antony Gormley OBE RA", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/sir-antony-gormley-obe-ra-1192" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999780, "shortTitle": "Tate Patrons" }, { "id": 999999956, "shortTitle": "Collection" } ]

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[ { "append_role_to_name": false, "date": "1748–1828", "fc": "Thomas Kerrich", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/thomas-kerrich-7945" } ]

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

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[ { "append_role_to_name": false, "date": "1748–1828", "fc": "Thomas Kerrich", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/thomas-kerrich-7945" } ]

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

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[ { "append_role_to_name": false, "date": "1748–1828", "fc": "Thomas Kerrich", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/thomas-kerrich-7945" } ]

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

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