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[ { "append_role_to_name": false, "date": "1911–2010", "fc": "Louise Bourgeois", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/louise-bourgeois-2351" } ]

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[ { "artistRoomsTour": false, "dateText": "26 October 2013 – 18 May 2014", "endDate": "2014-05-18", "exhibitionLegs": [ { "dateText": "26 October 2013 – 18 May 2014", "endDate": "2014-05-18", "id": 8142, "startDate": "2013-10-26", "venueName": "Scottish National Gallery of Modern Art (Edinburgh, UK)", "venueWebsiteUrl": "http://www.nationalgalleries.org/" } ], "id": 6678, "startDate": "2013-10-26", "title": "ARTIST ROOMS 2013: Louise Bourgeois", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "16 June 2014 – 12 April 2015", "endDate": "2015-04-12", "exhibitionLegs": [ { "dateText": "16 June 2014 – 12 April 2015", "endDate": "2015-04-12", "id": 8684, "startDate": "2014-06-16", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 7124, "startDate": "2014-06-16", "title": "Louise Bourgeois Drawings", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "5 November 2016 – 31 August 2025", "endDate": "2025-08-31", "exhibitionLegs": [ { "dateText": "5 November 2016 – 5 February 2017", "endDate": "2017-02-05", "id": 9876, "startDate": "2016-11-05", "venueName": "Art Gallery of New South Wales (Sydney, Australia)", "venueWebsiteUrl": "http://www.artgallery.nsw.gov.au" }, { "dateText": "18 March 2017 – 16 July 2017", "endDate": "2017-07-16", "id": 10083, "startDate": "2017-03-18", "venueName": "Auckland Art Gallery (Auckland, New Zealand)", "venueWebsiteUrl": null }, { "dateText": "11 August 2017 – 4 February 2018", "endDate": "2018-02-04", "id": 10738, "startDate": "2017-08-11", "venueName": "Seoul Olympic Museum of Art (Seoul, South Korea)", "venueWebsiteUrl": null }, { "dateText": "24 March 2018 – 24 June 2018", "endDate": "2018-06-24", "id": 10739, "startDate": "2018-03-24", "venueName": "Yokohama Museum of Art (Yokohama, Japan)", "venueWebsiteUrl": null }, { "dateText": "13 July 2018 – 28 October 2018", "endDate": "2018-10-28", "id": 11700, "startDate": "2018-07-13", "venueName": "Kaohsiung Museum of Fine Arts (Kaohsiung, Taiwan)", "venueWebsiteUrl": null } ], "id": 8136, "startDate": "2016-11-05", "title": "Nude: art from the Tate collection", "type": "Tate partnerships & programmes" }, { "artistRoomsTour": false, "dateText": "6 July 2021 – 16 January 2022", "endDate": "2022-01-16", "exhibitionLegs": [ { "dateText": "6 July 2021 – 16 January 2022", "endDate": "2022-01-16", "id": 13772, "startDate": "2021-07-06", "venueName": "Tate Liverpool (Liverpool, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/liverpool/" } ], "id": 11378, "startDate": "2021-07-06", "title": "ARTIST ROOMS Louise Bourgeois", "type": "Collection based display" } ]

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[ { "append_role_to_name": false, "date": "1906–1996", "fc": "Marie-Louise Von Motesiczky", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/marie-louise-von-motesiczky-1672" } ]

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[ { "artistRoomsTour": false, "dateText": "30 July 2018 – 14 July 2019", "endDate": "2019-07-14", "exhibitionLegs": [ { "dateText": "30 July 2018 – 14 July 2019", "endDate": "2019-07-14", "id": 11562, "startDate": "2018-07-30", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 9554, "startDate": "2018-07-30", "title": "Magic Realism", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "8 October 2019 – 27 September 2020", "endDate": "2020-09-27", "exhibitionLegs": [ { "dateText": "8 October 2019 – 27 September 2020", "endDate": "2020-09-27", "id": 13422, "startDate": "2019-10-08", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 11054, "startDate": "2019-10-08", "title": "Archive Gallery: Marie-Louise von Motesiczky", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "20 February 2025 – 26 May 2025", "endDate": "2025-05-26", "exhibitionLegs": [ { "dateText": "20 February 2025 – 26 May 2025", "endDate": "2025-05-26", "id": 16022, "startDate": "2025-02-20", "venueName": "Neue Galerie New York (New York, USA)", "venueWebsiteUrl": "http://www.neuegalerie.org" } ], "id": 13143, "startDate": "2025-02-20", "title": "Neue Sachlichkeit / New Objectivity", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Portrait of a Russian Student </i>1927 depicts a young man with blonde hair seated in an interior setting. He is dressed formally in a grey suit and white shirt, the sober tones of which contrast with the green and pink patterned wallpaper behind him and the pink curtain at the right edge of the composition. His face has an intense, serious expression accentuated by his thin angular features and staring eyes, but most expressive of emotion are his hands. These are held in mid-air, perhaps in the act of gesticulating nervously, accentuating the impression of tension and anxiety. The identity of the sitter is unknown, but Motesiczky’s brother Karl was in contact with Russian scholars at the time that the portrait was painted, and she most likely met him through her brother. The work was probably painted in Paris while Motesiczky was studying at the Académie de la Grande Chaumière in Montparnasse. The simplified, angular forms and sparse setting, as well as the sober realist treatment of the figure, show Motesiczky adopting the formal approach of the Neue Sachlichkeit movement, with whom Max Beckmann (1884–1950), her mentor, exhibited in 1925. Like many of her early works, the background is divided into two sections, representing two walls of a room, the corner located behind the sitter’s head. The wall behind the sitter’s right shoulder is lit by light from the window on the right, while the other wall is in shadow. The muted colours are punctuated by flashes of pink in the wallpaper, curtain and sitter’s lips.</p>\n<p>The work was painted in the same year that Beckmann, having admired an earlier portrait by Motesiczky, <i>Workman, Paris</i> 1926, invited her to attend his master-class at the Städelschule in Frankfurt-am-Main, where she studied between 1927 and 1928. Beckmann was a family friend, whose studio Motesiczky had visited in 1924, and his work would exert a profound influence on his future student’s art. Her paintings of the 1920s, such as <i>Portrait of a Russian Student</i>, adopted his angular forms and harsh realism. From the 1930s this developed into a looser expressionist approach to her painting which can be seen in later works such as <i>Old Woman, Amersham </i>1942 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/von-motesiczky-old-woman-amersham-t14870\" title=\"View the details of this artwork\"><span>T14870</span></a>). Portraiture would remain an important aspect of Motesiczky’s practice throughout her career.</p>\n<p>\n<b>Further reading</b>\n<br/>Ines Schlenker, <i>Marie-Louise von Motesiczky, 1906</i>–<i>1996: A Catalogue Raisonné of the Paintings</i>, London 2009, p.99 no.16.</p>\n<p>Emma Chambers<br/>January 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2017-12-13T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "actions: postures and motions", "adults", "clothing and personal items", "domestic", "educational and scientific", "individuals: male", "interior - non-specific", "interiors", "man", "nationality", "objects", "people", "portraits", "Russian", "sitting", "society", "student", "suit", "work and occupations" ]

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[ "adults", "individuals: male", "man", "people", "portraits", "society", "train", "transport: land", "woman" ]

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[ { "artistRoomsTour": false, "dateText": "5 November 2016 – 31 August 2025", "endDate": "2025-08-31", "exhibitionLegs": [ { "dateText": "10 November 2023 – 14 April 2024", "endDate": "2024-04-14", "id": 14116, "startDate": "2023-11-10", "venueName": "LWL-Landesmuseum für Kunst und Kulturgeschichte Westfälisches (Munster, Germany)", "venueWebsiteUrl": "http://landesmuseum.lwl.org" }, { "dateText": "23 November 2024 – 3 March 2025", "endDate": "2025-03-03", "id": 16283, "startDate": "2024-11-23", "venueName": "Worcester Art Museum (Worcester, USA)", "venueWebsiteUrl": "http://www.worcesterart.org" }, { "dateText": "1 April 2025 – 31 August 2025", "endDate": "2025-08-31", "id": 15578, "startDate": "2025-04-01", "venueName": "External", "venueWebsiteUrl": null } ], "id": 8136, "startDate": "2016-11-05", "title": "Nude: art from the Tate collection", "type": "Tate partnerships & programmes" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Model, Vienna </i>1930 depicts a half-length female nude, the figure facing the viewer but looking to the side, her arms crossed protectively across her torso and clothing draped around her lower body. The light source is from the left of the composition, highlighting the figure’s right side, while the left remains in shadow. The contrasting light effects on the model’s skin are complemented by the contrasting tones of grey in the background, divided into a block of dark grey on the left and light grey on the right, the division between the two visible at the top edge of the painting behind the model’s head. The fabric draped in the foreground is also divided into two distinct tones, a strip of white at the top and dark grey below. This monochrome palette, and flat application of paint, itself contrasts with the expressionist handling of the model’s face and naked flesh. The nuanced fleshtones are thickly painted with strong highlights and demonstrate Motesciszky’s interest in the subtle effects of light on bare skin. Although the identity of the model is unknown, she has distinctive strong features and also appears in an earlier painting by Motesiczky, <i>Model, Vienna</i> 1929.</p>\n<p>The work was painted at a time when Motesiczky was moving away from the angular forms seen in earlier paintings such as <i>Portrait of a Russian Student </i>1927 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/von-motesiczky-portrait-of-a-russian-student-t14867\" title=\"View the details of this artwork\"><span>T14867</span></a>), which showed the influence of her teacher Max Beckmann (1884–1950) with whom she studied between 1928 and 1928, towards a looser expressionist approach. In the 1920s Motesiczky had studied in Paris, Berlin and Frankfurt-am-Main, before returning to her native Vienna where this work was painted. She moved to England in 1939 where she lived for the rest of her life. An interest in the human figure and the study of the naked form would remain important parts of her practice throughout her career.</p>\n<p>\n<b>Further reading</b>\n<br/>Ines Schlenker, <i>Marie-Louise von Motesiczky, 1906</i>–<i>1996: A Catalogue Raisonné of the Paintings</i>, London 2009, p.119 no.32.</p>\n<p>Emma Chambers<br/>January 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-03-08T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "artistRoomsTour": false, "dateText": "8 October 2019 – 27 September 2020", "endDate": "2020-09-27", "exhibitionLegs": [ { "dateText": "8 October 2019 – 27 September 2020", "endDate": "2020-09-27", "id": 13422, "startDate": "2019-10-08", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 11054, "startDate": "2019-10-08", "title": "Archive Gallery: Marie-Louise von Motesiczky", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Old Woman, Amersham</i> 1942 is a half-length portrait of an elderly woman wearing a hat and holding a piece of white cloth. The figure is positioned against a yellow background which echoes a yellow garment just visible beneath the sitter’s black coat. The work combines loose expressionist handling with a strong evocation of character, conveyed by the close attention to the marks of ageing on the features of the sitter. The work was painted four years after Motesiczky had emigrated to England in 1939, when she was in close contact with the German painter Oskar Kokoschka (1886–1980), an old family friend. Kokoschka’s loose handling of paint and his tendency to turn portraits into symbolic compositions were influences on this painting and others of the period (see, for example, Kokoschka’s <i>Ambassador Ivan Maisky </i>1942–3 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kokoschka-ambassador-ivan-maisky-n05432\" title=\"View the details of this artwork\"><span>N05432</span></a>] for an example of his fluid paint handling). The white cloth or sheet that Motesiczky’s sitter holds has been interpreted as a reference to the use of the shroud in Dutch painting to suggest that the subject, in this case a neighbour in Amersham who, according to the artist, lived to be one hundred years old, will outlive those around her. The work was exhibited in Motesiczky’s exhibition at the Czechoslovak Institute, London in autumn 1944. At the time Kokoschka suggested to Sir John Rothenstein, then Director of the Tate Gallery, that Tate might acquire a work from the exhibition. Rothenstein included <i>Old Woman, Amersham</i> on a list of works to be considered, but ultimately it was not acquired at that time.</p>\n<p>Portraiture was an important aspect of Motesiczky’s practice throughout her career, from early work such as <i>Portrait of a Russian Student </i>1927 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/von-motesiczky-portrait-of-a-russian-student-t14867\" title=\"View the details of this artwork\"><span>T14867</span></a>) to later portraits such as <i>From Night into Day </i>1975 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/von-motesiczky-from-night-into-day-t04851\" title=\"View the details of this artwork\"><span>T04851</span></a>).</p>\n<p>\n<b>Further reading</b>\n<br/>Ines Schlenker, <i>Marie-Louise von Motesiczky, 1906</i>–<i>1996: A Catalogue Raisonné of the Paintings</i>, London 2009, p.158 no.59.</p>\n<p>Emma Chambers<br/>January 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-03-08T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "actions: postures and motions", "adults", "Amersham", "birth to death", "clothing and personal items", "coat", "England", "hat", "individuals: female", "longevity - shroud", "objects", "people", "places", "portraits", "sitting", "symbols and personifications", "UK cities, towns and villages", "UK countries and regions", "woman, old" ]

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[ { "artistRoomsTour": false, "dateText": "2 April 2015 – 25 September 2022", "endDate": "2022-09-25", "exhibitionLegs": [ { "dateText": "28 March 2015", "endDate": null, "id": 9670, "startDate": "2015-03-28", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 7948, "startDate": "2015-04-02", "title": "Gallery 8", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "1 May 2017 – 4 February 2018", "endDate": "2018-02-04", "exhibitionLegs": [ { "dateText": "1 May 2017 – 28 January 2018", "endDate": "2018-01-28", "id": 11264, "startDate": "2017-05-01", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 9306, "startDate": "2017-05-01", "title": "William Stott of Oldham", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "24 February 2018 – 31 March 2020", "endDate": "2020-03-31", "exhibitionLegs": [ { "dateText": "24 February 2018 – 2 September 2018", "endDate": "2018-09-02", "id": 11860, "startDate": "2018-02-24", "venueName": "Oriel y Parc Gallery and Visitor Centre (St Davids, UK)", "venueWebsiteUrl": null } ], "id": 9767, "startDate": "2018-02-24", "title": "Stott Tour", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "14 September 2018 – 12 January 2019", "endDate": "2019-01-12", "exhibitionLegs": [ { "dateText": "14 September 2018 – 12 January 2019", "endDate": "2019-01-12", "id": 12030, "startDate": "2018-09-14", "venueName": "Southampton City Art Gallery (Southampton, UK)", "venueWebsiteUrl": "http://www.southampton.gov.uk/leisure/arts" } ], "id": 9900, "startDate": "2018-09-14", "title": "Stott Tour", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "14 January 2019 – 16 June 2019", "endDate": "2019-06-16", "exhibitionLegs": [ { "dateText": "14 January 2019 – 16 June 2019", "endDate": "2019-06-16", "id": 12032, "startDate": "2019-01-14", "venueName": "Gallery Oldham (Oldham, UK)", "venueWebsiteUrl": "http://www.galleryoldham.org.uk" } ], "id": 9902, "startDate": "2019-01-14", "title": "Stott Tour", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "2 November 2019 – 8 March 2020", "endDate": "2020-03-08", "exhibitionLegs": [ { "dateText": "2 November 2019 – 8 March 2020", "endDate": "2020-03-08", "id": 12034, "startDate": "2019-11-02", "venueName": "Aberdeen Art Gallery (Aberdeen, UK)", "venueWebsiteUrl": "http://www.aagm.co.uk" } ], "id": 9904, "startDate": "2019-11-02", "title": "Stott Tour", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "31 October 2022", "endDate": null, "exhibitionLegs": [ { "dateText": "4 October 2021", "endDate": null, "id": 13418, "startDate": "2021-10-04", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 11050, "startDate": "2022-10-31", "title": "Gallery 8", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Le Passeur</i> (<i>The Ferryman</i>) 1881 is an oil painting on canvas by the British painter William Stott. The painting depicts a rural scene with two young female figures in the foreground in contemporary dress. The girls have their backs to the viewer and appear to look across an expanse of water that stretches across the middle section of the canvas. A cluster of buildings borders the water in the background and is reflected in it along with the dusky sky. The stretch of water that mirrors the sky appears to glow in contrast with the duller colours of the buildings and foliage, and the girls’ dresses in blue and white seem to borrow some of this radiant effect.</p>\n<p>\n<i>Le Passeur </i>stands out as the most ambitious impressionist work of Stott’s career. It was painted at the international artists’ colony of Grez-sur-Loing in north-central France where, in the early 1880s, the artist established working relationships with artists from across Europe and America, including Frank O’Meara and Lowell Birge Harrison. Six-foot long, perhaps in emulation of John Constable’s six-foot landscape paintings, the picture is a delicate tonalist rendition of dusk on the river at Grez. It displays a rich mixture of influences and connections, from the rural naturalism of Jules Bastien Lepage to the simple geometry and enigmatic stillness of Edward Burne-Jones. There are <i>japoniste</i> touches in the way the reeds are painted <i>contre jour</i>, allowing them to appear silhouetted against the reflection of the setting sun on the water. The dusk lighting and contemplative figures also recall the work of Scandinavian artists such as Carl Larsson and Karl Nordström, who were well represented among the colony at Grez. Indeed <i>Le Passeur</i> also has symbolist undertones – the subject of the work could be seen as a reference to Charon, the ferryman of Greek mythology who crosses the river Styx. However, in terms of naturalistic painting the picture represents one of the key moments in the breakthrough of naturalism in British art of the 1880s, away from a detailed rendition of form and narrative content. The juxtaposition of surface effect and perspectival depth, achieved through the combination of techniques used to represent the water and landscape, was to become highly influential and imitated by artists such as George Clausen, Henry La Thangue, John Lavery, James Guthrie and Stanhope Forbes.</p>\n<p>Stott was a leading figure in the group of British artists who came under the influence of French naturalism in the closing decades of the nineteenth century. After studying at Manchester School of Art, he trained in Paris under Léon Bonnat and Jean-Léon Gérôme and went on to exhibit a number of paintings at the Paris Salon. The works he showed there were much admired by French critics. <i>Le Passeur </i>established the artist’s international reputation when it was exhibited, together with the artist’s <i>The Bathing Place</i> (<i>La Baignade</i>), in 1882. Stott was awarded a third class medal for the former by the Salon Jury and the critic Victor Champier reported that connoisseurs were ‘surprised, charmed and captivated’ by the ‘sharp truth, complete originality, and unusual elegance’ of the picture (<i>L’Exposition des Beaux Arts (Salon 1882)</i>, p.222). However, the painting was to receive a much cooler reception in London when it was shown at the Fine Art Society later that year, the broad isolated brushwork representing a decisive departure from established methods of blending tone and colour in landscape painting.</p>\n<p>\n<i>Le Passeur</i> was purchased from the Fine Art Society by the collector John Forbes White who hung it in the picture gallery at his house in Aberdeen. Shortly after, White commissioned Stott to paint a portrait of his daughter Alice. In more general terms <i>Le Passeur </i>came to exert a strong influence on artists associated with the Glasgow School. The first long critical evaluation of the artist’s work was published by the critic Alice Corkran in <i>The Scottish Art Review</i> in 1889. This stated: ‘The secret charm of the picture consists in its witching harmony and restfulness, unbroken by any intrusive emotion brought into it by the human world.’ (Corkran 1889, p.320.)</p>\n<p>\n<b>Further reading</b>\n<br/>Alice Corkran, ‘William Stott of Oldham’, <i>Scottish Art Review</i>, vol.1, April 1889, p.320.<br/>Roger Brown, <i>William Stott of Oldham, 1857–1900, ‘A Comet Rushing to the Sun’</i>, exhibition catalogue, Oldham Art Gallery 2003, pp.20–2, 62–3, reproduced p.63.<br/>Kenneth McConkey, <i>William Stott of Oldham: Le Passeur</i>, exhibition catalogue, Fine Art Society, London 2014.</p>\n<p>Alison Smith<br/>June 2015</p>\n</div>\n", "display_name": "Summary", "publication_date": "2017-06-23T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Here, two girls wait for a ferry to cross a river at dusk. It has been suggested that the title could be a reference to Charon, the ferryman of Greek mythology. Charon crosses the river Styx, the border between Earth and the Underworld. The dimming light and flowing water may represent different phases of life and the passage from life to death. Le Passeur was painted on the shore of the river Loing in north-central France. It was made while William Stott was staying at the international artists’ community of Grez-sur-Loing.</p>\n</div>\n", "display_name": "Online caption", "publication_date": "2023-11-29T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

[ "actions: postures and motions", "actions: processes and functions", "architecture", "bank", "characters", "Charron", "children", "cities, towns, villages (non-UK)", "countries and continents", "evening", "France", "girl", "Grez-sur-Loing", "house", "literature and fiction", "looking / watching", "lying down", "mythical, religious, fictional", "natural features (non-UK)", "natural phenomena", "people", "places", "plants and flowers", "reed", "reflection", "residential", "river", "River Loing", "River Styx", "standing", "times of the day", "water: inland" ]

[ { "append_role_to_name": false, "date": "born 1974", "fc": "Otobong Nkanga", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/otobong-nkanga-24932" } ]

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[ "communication", "community", "concrete", "emotions, concepts and ideas", "environment / nature", "formal qualities", "history", "language", "lifestyle and culture", "materials", "objects", "rope", "society", "sound", "tools and machinery", "universal concepts" ]

[ { "append_role_to_name": false, "date": "born 1946", "fc": "Marina Abramovic", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/marina-abramovic-11790" } ]

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[ { "artistRoomsTour": false, "dateText": "10 June 2016 – 18 November 2018", "endDate": "2018-11-18", "exhibitionLegs": [ { "dateText": "10 June 2016 – 18 January 2018", "endDate": "2018-01-18", "id": 10274, "startDate": "2016-06-10", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 8488, "startDate": "2016-06-10", "title": "Art of Participation", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Rhythm 0</i> by the Serbian artist Marina Abramovic<b> </b>comprises seventy-two objects set out on a long table covered with a white tablecloth, as well as sixty-nine slides. The slides are projected onto the gallery wall above the table from a projector which sits on a stand. Among the objects on the table is a framed description of a performance piece of the same name that took place at Studio Morra in Naples in 1974. The slides document this performance and the objects replicate the original props used. Many are perishable items, such as foodstuffs and flowers, which need to be replaced each time the work is displayed. The work was remade for exhibition purposes in 2009 as part of the Abramovic’s<b> </b>retrospective exhibition at the Museum of Modern Art, New York. It exists in an edition of three plus two artist’s proofs, and Tate’s copy is number one in the edition.</p>\n<p>The list of props in the work is as follows:</p>\n<p class=\"cttext\">\n</p><blockquote>gun<br/>bullet<br/>blue paint<br/>comb<br/>bell<br/>whip<br/>lipstick<br/>pocket knife<br/>fork<br/>perfume<br/>spoon<br/>cotton<br/>flowers<br/>matches<br/>rose<br/>candle<br/>mirror<br/>drinking glass<br/>polaroid camera<br/>feather<br/>chains<br/>nails<br/>needle<br/>safety pin<br/>hairpin<br/>brush<br/>bandage<br/>red paint<br/>white paint<br/>scissors<br/>pen<br/>book<br/>sheet of white paper<br/>kitchen knife<br/>hammer<br/>saw<br/>piece of wood<br/>ax<br/>stick<br/>bone of lamb<br/>newspaper<br/>bread<br/>wine<br/>honey<br/>salt<br/>sugar<br/>soap<br/>cake<br/>metal spear<br/>box of razor blades<br/>dish<br/>flute<br/>Band Aid<br/>alcohol<br/>medal<br/>coat<br/>shoes<br/>chair<br/>leather strings<br/>yarn<br/>wire<br/>sulphur<br/>grapes<br/>olive oil<br/>water<br/>hat<br/>metal pipe<br/>rosemary branch<br/>scarf<br/>handkerchief<br/>scalpel<br/>apple</blockquote>\n<p>Abramovic’s original intention for the piece is explained by her written instructions which accompanied the work:</p>\n<p class=\"cttext\">\n</p><blockquote>Instructions.<br/>There are 72 objects on the table that one can use on me as desired.</blockquote>\n<p class=\"cttext\">\n</p><blockquote>Performance<br/>I am the object.<br/>During this period I take full responsibility.</blockquote>\n<p class=\"cttext\">\n</p><blockquote>1974<br/>Duration: 6 hours (8pm–2am.)<br/>Studio Morra, Naples<br/>(Reproduced in Biesenbach 2009, p.74.)</blockquote>\n<p>Thus, for a period of six hours, visitors were invited to use any of the objects on the table on the artist, who subjected herself to their treatment. The artist has stated, ‘the experience I drew from this work was that in your own performances you can go very far, but if you leave decisions to the public, you can be killed’ (quoted in Ward 2009, p.132). It is important to note that for the purpose of museum display, the gun has been deactivated and, together with other dangerous items, secured to the table. It is not the artist’s intention that the performance should be repeated. Instead, while many performance works rely on photographic or video documentation only, this work physically incorporates the ‘instruments’ used as props in the performance (or their replicas), so that the mechanics of threat and seduction played out in the original work are palpable to the viewer, especially when seen in combination with the slides documenting the event.</p>\n<p>As with many of Abramovic’s works, themes surrounding the physicality of the body, endurance, pain and the staging of authentic live actions are dealt with in an experimental way, incurring a degree of personal risk and suffering. The objects that could be ‘used on her’ were chosen to represent both pain and pleasure. Through the risk to her own person in this work, and her acceptance of that risk, Abramovic also explored collective action and responsibility. The ritualistic and quasi-sacred character of the table-as-altarpiece is a common theme in Abramovic’s work, as is her own performative contribution. Her role as shaman-like figure was played out in her performance for her 2009 retrospective at the Museum of Modern Art: entitled <i>The Artist is Present</i>, it involved her sitting in a meditative state and staring into the eyes of one visitor at a time throughout the duration of the show.</p>\n<p>\n<i>Rhythm 0</i> is one of Abramovic’s most important works. It was the last work in a series of individual body art performance pieces that began with <i>Rhythm 10</i>, and according to the artist it presents ‘the conclusions of my research on the body when conscious and unconscious’ (Abramovic in Biesenbach 2009, p.74). For example, in <i>Rhythm 10</i> Abramovic used a collection of twenty knives to stab repeatedly at a piece of paper between her fingers. Each time she cut herself she changed knives, until she had used all the knives. This series was made just prior to the important sequence of works Abramovic created in collaboration with the artist Ulay (Frank Uwe Laysiepen).</p>\n<p>\n<b>Further reading</b>\n<br/>RoseLee Goldberg, <i>Performance Art: From Futurism to the Present</i>, London 1999, p.165.<br/>Frazer Ward, ‘Marina Abramovic: Approaching Zero’, in Anna Dezeuze (ed.), <i>The ‘Do-it-Yourself’ Artwork: Participation from Fluxus to New Media</i>, Manchester 2009, pp.132–44.<br/>Klaus Biesenbach (ed.),<i> Marina Abramovic</i>: <i>The Artist is Present</i>, exhibition catalogue, Museum of Modern Art, New York 2009.</p>\n<p>Catherine Wood<br/>March 2010</p>\n</div>\n", "display_name": "Summary", "publication_date": "2016-06-20T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1945 – 2020", "fc": "Susan Rothenberg", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/susan-rothenberg-1872" } ]

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[ { "append_role_to_name": false, "date": "born 1932", "fc": "Olga de Amaral", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/olga-de-amaral-24258" } ]

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[ "abstraction", "alchemy", "education, science and learning", "emotions, concepts and ideas", "formal qualities", "geometric", "non-representational", "society", "texture", "weaving" ]

[ { "append_role_to_name": false, "date": "born 1932", "fc": "Olga de Amaral", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/olga-de-amaral-24258" } ]

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[ { "artistRoomsTour": false, "dateText": "15 May 2017 – 4 November 2018", "endDate": "2018-11-04", "exhibitionLegs": [ { "dateText": "15 May 2017 – 4 November 2018", "endDate": "2018-11-04", "id": 11272, "startDate": "2017-05-15", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 9312, "startDate": "2017-05-15", "title": "Beyond Craft", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "15 October 2024 – 31 March 2025", "endDate": "2025-03-31", "exhibitionLegs": [ { "dateText": "15 October 2024 – 31 March 2025", "endDate": "2025-03-31", "id": 15979, "startDate": "2024-10-15", "venueName": "Fondation Cartier pour l’Art Contemporain (Paris, France)", "venueWebsiteUrl": "http://www.fondation.cartier.com" } ], "id": 13105, "startDate": "2024-10-15", "title": "Olga de Amaral", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>In Grey and Pink</i> 1966 is a long hung tapestry, with a complex woven structure, executed in muted shades of grey, brown and two shades of pink. Its forms alternate between single and grouped yarn ‘braids’, and woven sections incorporating woven geometric forms or woven strips, often superimposed on a woven ground. Born in Bogotá, Colombia, de Amaral gained a degree in architectural design before moving to the United States to study fabric art at Cranbrook Academy of Art, Bloomfield Hills, Michigan between 1954 and 1955; Cranbrook was a centre of modernist design and de Amaral focused on learning about colour in textiles.</p>\n<p>\n<i>In Grey and Pink</i> is typical of her earlier work which explored aspects of weaving in relation to modernist principles of structure and colour; these were combined with references to pre-Columbian cultures, particularly Peruvian textiles and architecture which de Amaral studied in depth during the 1950s and 1960s. The muted shades of this work are typical of the natural fibres and organic dyes used in Pre-Columbian textiles and vernacular Andean weaving. In fact, owing to its areas of grouped braids, interspersed with ‘dots’ that might be read as standing in for knots, and its long fringe, <i>In Grey and Pink </i>can be ‘read’ as a form of <i>quipu</i>, a Pre-Columbian device for recording information through an object comprised of a series of knotted strings, that was used both for accountancy or numerical data but is now also believed to have recorded narrative information. The design of de Amaral’s hanging also features shapes that taper upwards and which may refer to the forms of Incan architecture, in which doors and windows are wide at the base and become narrower towards the top; they may also evoke an abstract-pictographic language. The work embodies the way in which de Amaral subtly combined modernist abstraction with key references to the ancient cultures of the Americas, particularly around questions of language and communication of information, in a hybrid play between modernism and indigenism. In later works, such as <i>Alchemy 50</i> 1987 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/amaral-alchemy-50-t14879\" title=\"View the details of this artwork\"><span>T14879</span></a>), de Amaral’s practice developed into a hybrid between fibre art, textile and painting. </p>\n<p>\n<b>Further reading</b>\n<br/>Matthew Drutt, Edward Lucie-Smith, Juan Carlos Moyano Ortiz et al., <i>Olga de Amaral: The Mantle of Memory</i>, Paris and Bogotá 2013.<br/>Matthew Drutt and Guillermo Bueno, <i>Olga de Amaral</i>, Paris 2015.</p>\n<p>Tanya Barson<br/>July 2016</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-07-05T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1913–1966", "fc": "Ramses Younan", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/ramses-younan-25130" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Younan was an artist, writer and political activist. In the late 1930s he co-founded the Egyptian surrealist group Art and Freedom. He believed in the revolutionary power of the imagination, and used the unconscious mind as a source for his art. Starting from an initial improvisation he would develop and refine the surface of his paintings to produce complex abstract compositions. Here forms seem to dissolve and merge into each other. The colours resemble those of an Egyptian landscape.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2019-01-22T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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[ { "append_role_to_name": false, "date": "born 1935", "fc": "Eleanor Antin", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/eleanor-antin-11604" } ]

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[ { "artistRoomsTour": false, "dateText": "30 September 2016 – 10 September 2017", "endDate": "2017-09-10", "exhibitionLegs": [ { "dateText": "30 September 2016 – 29 January 2017", "endDate": "2017-01-29", "id": 9987, "startDate": "2016-09-30", "venueName": "National Gallery of Art (Washington DC, USA)", "venueWebsiteUrl": null }, { "dateText": "19 March 2017 – 10 September 2017", "endDate": "2017-09-10", "id": 10014, "startDate": "2017-03-19", "venueName": "Los Angeles County Museum of Art (Los Angeles, USA)", "venueWebsiteUrl": null } ], "id": 8235, "startDate": "2016-09-30", "title": "From Los Angeles to New York: The Dwan Gallery 1959-1971", "type": "Loan-out" } ]

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[ { "append_role_to_name": false, "date": "born 1965", "fc": "Ellen Gallagher", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/ellen-gallagher-9553" } ]

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[ "abstraction", "black", "body", "emotions, concepts and ideas", "ethnicity", "formal qualities", "geometric", "hair", "irregular forms", "non-representational", "people", "race", "social comment", "society", "texture" ]

[ { "append_role_to_name": false, "date": "1923–1998", "fc": "Kenneth Kemble", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/kenneth-kemble-23670" } ]

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[ "abstraction", "anger", "despair", "emotions and human qualities", "emotions, concepts and ideas", "formal qualities", "found object / readymade", "individuals: male", "irregular forms", "non-representational", "people", "pessimism", "portraits", "texture" ]

[ { "append_role_to_name": false, "date": "born 1972", "fc": "Monika Sosnowska", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/monika-sosnowska-13098" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Pavilion</i> 2016 is a black painted steel sculpture measuring approximately three metres high by five metres wide by just under seven metres long and weighing approximately two thousand kilograms. Displayed directly on the floor, the form resembles a crumpled architectural fragment, in which three bent rectangular forms resembling doors are entangled in a twisted latticework. These solid black forms contrast with the more delicate, filigree elements of the object. <i>Pavilion</i> is inspired by Sosnowska’s research into the 1960s housing estate Osiedle Slowackiego in Lubin, Poland, designed by Zofia and Oskar Hansen (1924–2013, 1922–2005) according to Oskar Hansen’s concept of ‘Open Form’. Distinctive architectural details, such as the star-like metal window grills from one of the now dilapidated shopping pavilions on the estate, are echoed in Sosnowska’s work. However, in the sculpture the metal latticework is rendered distorted, collapsed and functionless.</p>\n<p>Sosnowska’s sculptural practice is concerned with the material traces that mark the transformation of cities and, more broadly, with how architecture and architectural processes embody shifting social and political values. Her work often deals with modernist architecture, the experiences of often rapid and imposed post-war modernisation, especially in the former Eastern-Bloc, and the type of institutional architecture that evokes mid-twentieth-century socialism. Art critic and curator Adam Szymczyk has commented that her practice ‘has less to do with the exposing of the intrinsic qualities of sculptural process than with the sculptural memory of a specific era in history’ (in Museum of Art Aspen 2013, p.108). In her sculptures, Sosnowska has used the primary materials of industry, from metal and concrete to prefabricated MDF panels, replicating readymade, industrially produced objects such as door handles, balustrades, stairs and skeletal frames, in addition to replicating entire structures, including rooms and corridors. </p>\n<p>Sosnowska first visited the Osiedle Slowackiego estate in 2014. Designed between 1960 and 1963, it was built from 1964 to 1972 during the era of the communist People’s Republic of Poland. Responding to the need for social housing, Oskar Hansen conceived a number of such residential architectural projects, including the Osiedle Slowackiego estate in Lublin (1961) and the Przyczólek Grochowski estate in Warsaw (1963), using the principles of ‘Open Form’ which relied on the active participation of individuals to create their own environment and co-author the space in which they live. One of these principles was to reveal the tensions that occur within the construction of a building by exposing its structure. The original shopping pavilion which served as an inspiration for Sosnowska’s sculpture thus has a steel framework which is exposed within the building’s interior. Sosnowska’s visit to the estate left a deep impression on her: not only were the buildings in a physically deteriorated state, but the utopian ideas upon which the complex was built had also failed. The project was beset with difficulties from the outset, including the use of lower quality materials than those intended by the architects, and later changes were implemented which contradicted the architects’ original vision. It is this failure of the utopian idea embodied in Hansen’s architecture to which Sosnowska’s contorted and tangled <i>Pavilio</i>n refers. </p>\n<p>Sosnowska’s research for <i>Pavilion </i>involved her documenting the dilapidated Osiedle Slowackiego estate using digital photography. Since 2000 she has created a vast digital archive of photographs, capturing the deconstruction and reconstruction of Warsaw, and other cities in Poland and beyond, from demolished buildings and exposed frameworks, to broken doors and shattered windows. These photographs serve as research material for her sculptures. Although she does not exhibit them, they are used to contextualise her sculptural work in exhibition catalogues and publications. She has commented: </p>\n<p class=\"cttext\">\n</p><blockquote>My choice of motifs is spontaneous, without any code ... these pictures are only a kind of reference for me that I sometimes use as an inspiration for my work ... the Praga district ... has always been the most neglected and poorest part of the city. It is the district in which I lived for most of my time in Warsaw, and it still inspires me. Most of the pictures were taken in this area: viaducts, subways, and other places that seem to have been forgotten. (Quoted in <i>Monika Sosnowska</i>, exhibition catalogue, Schaulager Basel 2008, p.8.) </blockquote>\n<p>Having conceptualised a project, Sosnowska typically creates small-scale macquettes, made from paper and board, which are then realised in painted steel, cement or rubber by specialist technicians in the building and metalworking industry. Warsaw’s Factory for Houses, a former socialist state enterprise that produced skeletal structures for housing and industrial buildings, now delivers materials, services and design solutions to Sosnowska. Complex sculptures such as<i> Pavilion</i> are the result of a number of stages, and are produced in collaboration with specialised technicians. In recent years the artist has collaborated with architects and engineers on larger-scale projects such as the monumental steel construction <i>1:1</i> 2007, exhibited in the Polish Pavilion at the 52nd Venice Biennale in 2007. In a conversation with curator Sebastien Cichocki Sosnowska commented: ‘Architecture arranges, introduces order, reflects political and social systems. My works are more about introducing chaos and uncertainty. They make reality stop being obvious.’ (Quoted in Hauser &amp; Wirth 2014, p.91.) In the catalogue for the artist’s solo exhibition at Aspen Museum of Art in 2003, art historian Maria Gough summarised Sosnowska’s approach:</p>\n<p class=\"cttext\">\n</p><blockquote>Over the course of the last decade or so, Sosnowska’s aesthetic practice has produced not only a phenomenology but also a defamiliarization of perception, both rooted to a significant extent in her own direct observation of everyday life in contemporary Warsaw, namely, the violent erasure of the unwanted heritage of its communist past, particularly of the latter’s modernist instantiations. What has emerged most recently from the artist’s sustained exploration of the imbrication of space, experience, and history, however, is a distinct sculptural language of deformation and displacement that, far from being confined to the specific time and place of its production and reception, opens out into a fully developed transhistorical aesthetics of the sculptural-cum-architectural uncanny.<br/>(Aspen Museum of Art 2003, p.123.)</blockquote>\n<p>\n<b>Further reading</b>\n<br/>Adam Szymczyk, Maria Gough, Heidi Zuckerman Jacobsen, <i>Monika Sosnwoska</i>, exhibition catalogue, Aspen Museum of Art 2013.<br/>Juliusz Sokolowski, Andrzej Turowski, <i>Tower</i>, exhibition catalogue, Hauser &amp; Wirth, New York 2014.<br/>Suzanne Cotter, Gabriela Switek, <i>Architectonisation</i>, exhibition catalogue, Museu de Arte Contemporânea de Serralves, Porto 2015.</p>\n<p>Juliet Bingham<br/>March 2016</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-08-22T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1970", "fc": "Laura Owens", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/laura-owens-18416" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Untitled </i>2016 is a large-scale painting measuring 2743 x 2134 millimetres. The support is linen that the artist had dyed green three years before using it as the ground for this work. Most of the image is silkscreened and Owens used over one hundred screens on the surface. Some parts of the composition are hand-painted to bring out aspects of the imagery. The main motif is an embroidery depicting a four-storey dolls’ house with a tree at its right. This image appears to lie behind fifteen irregularly shaped bulbous patches in different shades of green, most of which are patterned with regular grids. Owens painted drop shadows beneath each of these forms to create the illusion of them being in front of the dolls’ house. Some of these curved shapes also contain marks that resemble brush strokes. Short lengths of wool protrude from the surface of the canvas in a few places, following the direction of these strokes.</p>\n<p>The image was derived from an original embroidery of a dolls’ house, one of a number owned by the artist’s grandmother. Owens first used these in an exhibition at CCA Wattis in San Francisco in 2016. In deciding to scan the embroideries as the starting points for large paintings, she was continuing her approach of using found material from her daily life as the basis for her work. Other source materials for her paintings have included hand-written stories penned by her children on lined paper; old metal plates used to print the <i>LA Times</i> and discovered in her house; classified adverts; and promotional material from magazines.</p>\n<p>\n<i>Untitled </i>2016 is also typical of Owens’s deployment of a visual reference from outside the realms of ‘fine art’ – in this case, an embroidery associated with domesticity, decoration and women’s craft. She uses such everyday sources (as well as more established art historical ones) in order to open up questions about taste and value, and in order to sustain painting’s relevance within broader contemporary culture. In the case of <i>Untitled</i>, she sets up a confrontation between different kinds of grids: the grids of an embroidery exercise; the grids of decorative patterns; and the grids of modernist abstraction. By placing these grids on a single plane, Owens asks her viewer to consider and rethink the way they are differently judged as ‘decoration’ or as ‘modernist art’.</p>\n<p>Owens is also interested in exploring the technical possibilities of computer-based composition, scanning and silkscreening, and this painting derives in part from her interest in these technologies; indeed, in this work, traditional crafts (embroidery) and contemporary technologies collide. The bulbous patches lying ‘over’ the dolls’ house are the result of computer-based drawing; motifs that seem to be brushstrokes are in fact made by selecting a thick curved line from a computer programme menu, and subsequent movements of the mouse. The original embroidery has been photographed and scanned into the computer. In some places, it seems that the scanning has not been accurate and that glitches have occurred. Parts of the ‘dolls’ house’ are replaced by areas of multi-coloured pixellation. These occur at various points on the surface of the image – for instance, some of the roof, the weathervane, a window and the right side of the garden fence. These apparent glitches are the result of Owens deliberately setting the scanner to mistranslate parts of the original embroidery.</p>\n<p>Additionally, in such work Owens questions different kinds of materiality. The source material for this painting was a physical, three-dimensional embroidery and it may seem that Owens substitutes its materiality for a scanned, flattened, printed image, just as she replaces actual brush strokes with mouse gestures. However, rather than exchanging apparently outmoded material forms (embroidery, brush work) with contemporary dematerialised forms (digital on-screen imagery), Owens allows her painting to be the place where these differences come together. Indeed <i>Untitled </i>is resolutely physical: Owens has used dyed woven linen (which, unlike a conventionally primed canvas, reads very much as a material surface), has painted in some places on top of silkscreen inks, and has sewn actual strands of wool into the work.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Laura Owens, exhibition catalogue</i>, Kunsthalle Zürich, 12 June–13 August 2006.<br/>\n<i>Laura Owens – Twelve Paintings</i>, exhibition catalogue, Ooga Booga, Los Angeles, 20 January–7 July 2013.<br/>\n<i>The Forever Now: Contemporary Painting in an Atemporal World</i>, exhibition catalogue, The Museum of Modern Art, New York, 14 December 2014–5 April 2015.<br/>\n<i>Laura Owens</i>, with contributions by Walead Beshty, Gavin Brown, Trinie Dalton, Mark Godfrey, Suzanne Hudson, Rachael Kushner, Linda Norden, and Wendy Yao, New York 2015.</p>\n<p>Mark Godfrey<br/>March 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-07-19T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1944", "fc": "Rebecca Horn", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/rebecca-horn-2269" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Earth Seed</i> 2012 is a large-scale work on paper featuring clusters of gestural marks made in graphite and acrylic paint in various shades of blue and yellow. The marks are denser along the central axis and spread wider across the top of the sheet, continuing in brief strokes along the two sides and forming a discontinuous curve towards the bottom edge. The overall composition is whirling and chaotic, yet roughly symmetrical. Some of the strokes are heavier, others more fleeting, and include strings of drips possibly left by the fast whisking of a fine brush near the surface of the paper. A graphite inscription near the top left of the sheet reads, in the artist’s distinctive cursive handwriting: ‘<i>Weltensamen / Mondsüchtig / in azul getauchte / Eisschleier / 3.7.2012</i>’ (‘Earth seed / Moonstruck / immersed in azure / ice shrouds / 3.7.2012’).</p>\n<p>Horn works across a range of media, including performance, sculpture, installation, film and video. She has, however, always considered drawing central to her practice, as demonstrated by the role of her early sketches and ‘hospital drawings’ in the development of a key group of early wearable sculptures and performance props known as ‘body extensions’ (see, for example, <i>Arm Extensions</i> 1968 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/horn-arm-extensions-t07857\" title=\"View the details of this artwork\"><span>T07857</span></a>] and <i>Finger Gloves </i>1972 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/horn-finger-gloves-t07845\" title=\"View the details of this artwork\"><span>T07845</span></a>]). Since the late 1980s Horn has created several mechanical ‘painting machines’, and has returned to investigating the medium of drawing with a particular interest in mark-making and seriality, creating groups of abstract works on paper of varying scale.</p>\n<p>\n<i>Earth Seed</i> is part of an ongoing series of large-scale drawings started in 2004, which Horn calls ‘Bodylandscapes’. This series is based on the artist’s body and its range of movements, leaving multiple gestural marks throughout the full height and width of sheets of paper of identical size (1820 x 1500 mm). These drawings are to be displayed as close to the floor as possible, with the bottom edge at a maximum height of 150–200 mm, in order for the viewer to establish a direct connection with the position and proportions of the artist’s body during the process of their making. These abstract works thus have strong connections with the human figure, while their titles often evoke landscapes or refer to natural phenomena.</p>\n<p>The title of each drawing in the series is usually inscribed on it and sometimes, as in the case of <i>Earth Seed</i>, can take the form of a brief poem. Writing has always been a key component of Horn’s practice, and textual elements are a recurring feature in her sculptures, drawings and installation. An example of this are the inscriptions that Horn added to the lids of most of the boxes she made for her early ‘body extensions’. Throughout her career, Horn has written poems and poems-in-prose to accompany her visual art output, which she likes to publish alongside images of her works to highlight their interdependence.</p>\n<p>According to Horn,</p>\n<p class=\"cttext\">\n</p><blockquote>In these … drawings, which correspond to the radius of my body, from the first stroke there is a tacit agreement with the pencil’s line to dissect the paper, to divide it into new forms, with each mark explaining its existence to the next: it rejects, resumes, plays, destroys, empties, leaps, dives down into the depths, spirals up towards the light, catches fire, melts, flies like ash, claps hold of the fox star’s tail, burns out in shining red and descends deep down into the roots of the paper.<br/>(Quoted in ‘A Smile: The Cage is Too Small for my Body: Rebecca Horn in conversation with Joachim Sartorius’, in Martin-Gropius-Bau 2006, p.192.)</blockquote>\n<p>On the subject of the overarching title for this series, ‘bodylandscapes’, the artist has said:</p>\n<p class=\"cttext\">\n</p><blockquote>To look inside bodies and meditate one’s own way into them makes it possible to let them become landscapes that are permeated with streams of energy, pulsating craters and mountain-like formations … You approach a hidden centre, maybe the solar plexus, and follow the circular motion or energy threads of breathing. It’s almost as if you were … using colour to penetrate the layers of an enigmatic landscape that gradually finds its own rhythm in the lines.<br/>(Quoted in ‘Birth of a Pearl: Rebecca Horn in conversation with Joachim Sartorius’, in ibid., p.289.)</blockquote>\n<p>The relationship between body and landscape is also a recurring motif in Horn’s work, beginning with those ‘body extensions’ and related performances whose key preoccupation was to establish a relationship between the body and its surroundings, such as <i>Trunk </i>c.1967–9 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/horn-trunk-t07855\" title=\"View the details of this artwork\"><span>T07855</span></a>), <i>White Body Fan</i> 1972 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/horn-white-body-fan-t07844\" title=\"View the details of this artwork\"><span>T07844</span></a>) and <i>In the Triangle</i> 1973–4 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/horn-in-the-triangle-t07856\" title=\"View the details of this artwork\"><span>T07856</span></a>). The body of the artist and gestural repetition as instruments for mark-making were also at the core of <i>Pencil Mask</i> 1972 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/horn-pencil-mask-t07847\" title=\"View the details of this artwork\"><span>T07847</span></a>), an iconic early work where Horn is seen ‘drawing’ by dragging a headpiece mounted with a grid of pencils pointing outwards against a white sheet. However, whereby <i>Pencil Mask</i> has negative connotations in its appearance as a restrictive cage used to enact drawing as a compulsive, exasperated gesture, the ‘Bodylandscapes’ stem from a much freer and more meditative type of bodily experimentation: as products of simple, essential body movements, like deep breathing or swinging one’s limbs around their natural axis, they embody drawing as an expression of primary life forces.</p>\n<p>\n<b>Further reading</b>\n<br/>Carl Haenlein (ed.), <i>Rebecca Horn. The Glance of Infinity</i>, exhibition catalogue, Kestner Gesellschaft, Hannover 1997.<br/>Armin Zweite, Katharina Schmidt, Doris von Drathen and Rebecca Horn, <i>Rebecca Horn: Drawings, Sculptures, Installations, Films 1964–2006</i>, exhibition catalogue, Martin-Gropius-Bau, Berlin 2006.<br/>Doris von Drathen, <i>Rebecca Horn: Between the Knives the Emptiness</i>, exhibition catalogue, Galerie Lelong, Paris and New York 2014.</p>\n<p>Valentina Ravaglia<br/>February 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-05-09T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Grew Feathers </i>2016 is a medium-scale black and white collage on paper, made using printed paper and a found photograph. Constructed by applying pieces of cut printed paper to a paper support, it depicts a female figure in a white boat-neck top and pearl necklace who sits sideways on, facing towards the left-hand side of the picture plane. The effect of light and shadow on the figure’s skin is conveyed using differently patterned sections of paper, and her hair is formed of small collaged pieces that give the appearance of feathers, hence the work’s title. The face is represented by a single collaged eye which looks out towards the viewer.</p>\n<p>Photography and found imagery has long played an integral role in Simpson’s practice. Speaking about the origins of her fascination with these sources, the artist has said:</p>\n<p class=\"cttext\">\n</p><blockquote>I can trace my original interest in found images to a discovery I made of these old <i>Ebony</i> magazines belonging to my grandmother. I found them really satisfying to look at, because they’re so contextual – from a particular time and for a particular audience. From there, I started collecting tons of <i>Ebony</i> and <i>Jet</i> magazines and other, similarly themed printed matter, ranging from the late 1930s through till the late 1970s. For me, the images hearken back to my childhood, but are also a lens through which to see the past fifty years in American history.<br/>(Quoted in Akel 2015, paragraph 4, accessed 2 August 2016.)</blockquote>\n<p>\n<i>Grew Feathers </i>is fabricated using material gathered from <i>Ebony</i> – a monthly culture and lifestyle magazine first published in the United States in November 1945, that was dedicated to African American experience – and from the Associated Press, the distributor for archival imagery from the Johnson Publishing Company which published <i>Ebony</i> and its sister magazine, <i>Jet</i>, until 2016. Whilst the selection and re-appropriation of imagery from these sources demonstrates an intellectual interest in the African American history they chronicle, the collage process suggests a fluid approach to that history. Through a deliberate process of fragmentation, selective exclusion and superimposition, Simpson highlights the complexity of the narrative she represents, and foregrounds what she terms ‘the cracks and the seams where things are put together or re-constructed’ (quoted in Museum of Contemporary Art 2006, p.139).</p>\n<p>Although the source material for the collage is thus archival, the work also addresses current African American experience. Just as historic issues of <i>Ebony </i>magazine presented models advertising fashions and cosmetics designed for African Americans – from complexion creams to styling products for afro hair – Simpson here conveys the woman’s hair, as the title suggests, as collaged bird feathers, in a reference to popular contemporary hairstyles that use braiding or curling tongs to create loose and feathery-ended effects. Perhaps also serving as a reference to the African American tradition of wearing ornately-decorated church hats or ‘crowns’ as part of a Sunday Best outfit, <i>Grew Feathers </i>evokes the longstanding cultural importance placed on grooming, being presentable and looking one’s best.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Lorna Simpson</i>, exhibition catalogue, Museum of Contemporary Art, Los Angeles, 16 April–10 July 2006.<br/>Joseph Akel, ‘The Photographic Memory: In the Studio with Lorna Simpson’, <i>The Paris Review</i>, 15 October 2015, <a href=\"http://www.theparisreview.org/blog/2015/10/15/a-photographic-memory-in-the-studio-with-lorna-simpson/\">http://www.theparisreview.org/blog/2015/10/15/a-photographic-memory-in-the-studio-with-lorna-simpson/</a>, accessed 2 August 2016.</p>\n<p>Hannah Johnston<br/>November 2016</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-05-09T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "adults", "beauty", "black", "body", "cultural identity", "emotions, concepts and ideas", "ethnicity", "fashion", "formal qualities", "found image", "hair", "individuals: female", "lifestyle and culture", "magazine, ‘Ebony’", "objects", "people", "photographic", "photomontage", "portraits", "race", "reading, writing, printed matter", "social comment", "society", "universal concepts", "woman" ]

[ { "append_role_to_name": false, "date": "active 1782–1801", "fc": "Daniel Turner", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/daniel-turner-557" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This painting dating from around 1805 shows a scene on the south bank of the River Thames at Battersea, looking west, with the old wooden Battersea Bridge, erected in 1771, in the middle ground, and The Swan, a substantial red-brick inn, to the left; beyond, stands the imposing white tower of the horizontal windmill, with the top part of the spire of St Mary’s Church visible behind trees. Daniel Turner lived and worked in Horseferry, Millbank, just a few moments’ walk from where the present-day Tate Britain stands. He specialised in scenes of the river Thames, particularly views taken near his home, and exhibited and published many views of this kind. The mill was a notable local landmark. It had been built in 1788 for Thomas Fowler, an oil and colour merchant, and was first used for crushing linseed for a few years before, in 1792, being annexed to the extensive adjacent maltings and distillery owned by John Hodgson, and being put to use grinding corn and malt. The white tower contained a forty-metre-high machine, comprising horizontal ‘floats, as in the wheel of a water-mill’ which when the shutters were opened turned to generate power, ‘even where there is little wind’ (Daniel Lysons, <i>The Environs of London</i>, vol.1, London 1792, p.47). While the horizontal windmill attracted much interest for its ingenuity, it is unclear how effective it actually was, and the fact that Hodgson purchased a steam engine in the 1790s suggests he needed an additional source of power for his distillery. The tower was dismantled in 1827, having become unstable. Battersea Bridge and the horizontal windmill were painted, from the east, by J.M.W. Turner (1775–1851) a few years earlier, around 1797 (<i>Battersea Church and Bridge, with Chelsea Beyond</i>,<i> </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/turner-battersea-church-and-bridge-with-chelsea-beyond-d00857\" title=\"View the details of this artwork\"><span>D00857</span></a>).</p>\n<p>Daniel Turner remains an obscure figure and is sometimes identified as ‘David’ or even ‘Edward Turner’. He was said to have been a pupil of the mezzotint engraver John Jones (c.1740–1797), and produced etchings as well as paintings. He had been evaluated as ‘A “Little Master” of London views, which he executed in a careful, even minute manner, with great delicacy of drawing.’ (Waterhouse 1952, p.29.) Many of his compositions are known in multiple versions. He appears to have exhibited at the Free Society of Artists in London from 1781, and at the Royal Academy in London from 1796–1801, although he continued to work after that latter date as signed works of a similar appearance to this painting and prints are dated 1804–6. A similar view of Battersea Bridge is known, dated 1804 (offered at auction at Christie’s South Kensington, 3 September 2012, lot 19); another was exhibited at the Burlington Fine Arts Club, London in 1929–30 from the collection of Mr F.A. White. The careful handling of paint and use of a wooden panel in <i>Old Battersea Bridge </i>are characteristic of other late works by the artist, such as <i>Old London Bridge </i>(date not known, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/turner-old-london-bridge-after-samuel-scott-n00313-n05784\" title=\"View the details of this artwork\"><span>N05784</span></a>), a work painted after Samuel Scott’s (c.1702–1772) <i>A View of London Bridge before the Late Alterations </i>(engraved 1758, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/scott-a-view-of-london-bridge-before-the-late-alterations-n00313\" title=\"View the details of this artwork\"><span>N00313</span></a>). </p>\n<p>\n<b>Further reading</b>\n<br/>E.K. Waterhouse, <i>Early English Landscapes from Colonel Grant’s Collection</i>, exhibition catalogue, Arts Council 1952, p.29.<br/>Maurice Harold Grant, <i>A Chronological History of the Old English Landscape Painters</i>, vol.5, Leigh-on-Sea 1959, pp.366–7.<br/>Andrew Saint (ed.), <i>Battersea, Part 1: Public, Commercial and Cultural</i>, Survey of London, vol.49, New Haven and London 2013, pp.347–9.</p>\n<p>Martin Myrone<br/>December 2016</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-07-19T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "adults", "architecture", "Battersea, Malt Mill", "Battersea, Old Battersea Bridge", "boat, rowing", "boat, sailing", "bridge", "bridges and viaducts", "England", "figure", "group", "groups", "industrial", "people", "places", "places of entertainment", "public house / bar", "river", "River Thames", "society", "transport: water", "UK countries and regions", "UK London", "UK natural features", "water: inland", "windmill" ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Untitled # 4</i> 2014 is a drawing in pencil and coloured pencil on paper. Black and grey stripes meet in slight misalignment to form a fractured, offset square, intersected by white lines created by Abts’s use of shading as well as her decision to leave sections of the paper untouched. The form is placed to the lefthand side of a larger sheet, just above centre. The structure asserts the flatness of the paper on which it is drawn, while simultaneously suggesting a sense of spatiality and depth. Abts uses no source material when she works and begins without a pre-conceived notion of the end result, allowing structures to emerge organically. She has described her finely calibrated compositions as ‘having to do with holding and unfolding the space in the way that every part of the picture plane is active’ (quoted at <a href=\"http://www.tate.org.uk/context-comment/video/turner-prize-artists-talk-tomma-abts\">http://www.tate.org.uk/context-comment/video/turner-prize-artists-talk-tomma-abts</a>, accessed 27 January 2017). Comparable drawings also in Tate’s collection are <i>Untitled # 1 </i>2004 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/abts-untitled-1-t12759\" title=\"View the details of this artwork\"><span>T12759</span></a>), <i>Untitled # 6 </i>2008 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/abts-untitled-no-6-t13041\" title=\"View the details of this artwork\"><span>T13041</span></a>), <i>Untitled # 8 </i>2008 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/abts-untitled-no-8-t13042\" title=\"View the details of this artwork\"><span>T13042</span></a>) and <i>Untitled # 10 </i>2008 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/abts-untitled-no-10-t13043\" title=\"View the details of this artwork\"><span>T13043</span></a>).</p>\n<p>Abts’s drawings are not preparatory works for paintings (for which she makes no preliminary sketches). Unlike the lengthy process of layering and constant readjustment involved in her paintings, her drawings are produced with relative spontaneity, guided only by the internal logic of each composition. This contrast has been described by curator Lizzie Carey-Thomas: ‘Acting as a counterpoint to the methodical progression of the paintings, her colour pencil and biro drawings operate as accelerated exercises in composition. In these, she decides upon a limited set of formal components and a reduced colour scheme, and allows arrangements freely to unfurl across the page in one sitting.’ (Lizzie Carey-Thomas, ‘Tomma Abts’, in Tate Britain 2006, n.p.)</p>\n<p>Despite these differences, curator Bob Nickas has written of the common quality which Abts’s particular working process brings to both her painting and drawing practice: ‘In the work of Tomma Abts, there is a purposeful and continuous circling around an activity, to create and regard an image that might otherwise elude being fixed, not so easily articulated yet pursued nonetheless, an image of the process of thought, the triangulation of the hand and the eye and the mind.’ (Bob Nickas, ‘Tomma Abts: Mainly Drawings’, in Aspen Art Museum 2015.)</p>\n<p>\n<b>Further reading</b>\n<br/>Lizzie Carey-Thomas, <i>Turner Prize 2006</i>, exhibition catalogue, Tate Britain 2006.<br/>Lisa Phillips, Bruce Hainley, Laura Hoptman, <i>Tomma Abts,</i> exhibition catalogue, New Museum of Contemporary Art, New York 2008.<br/>Bob Nickas, Katy Siegel, Heidi Zuckerman<i>, Tomma Abts: Mainly Drawings,</i> Aspen Art Museum 2015.</p>\n<p>Aïcha Mehrez<br/>January 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2018-03-08T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "abstraction", "geometric", "monochromatic", "non-representational" ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Benglis has used a vast range of materials over her career. She responds to the specific qualities of her chosen medium when deciding on the form of each work. For <i>GAMMA </i>she covered tubular aluminium screening with cotton bunting and plaster, twisted it into a knot and tied it by hand. She then decorated it with paint and glitter. Ancient Chinese and Incan knotting traditions, memories of crocheting with her grandmother, and floral wreaths Benglis saw in Greece as a child all influenced this work. The title, <i>GAMMA</i>, is the third letter of the Greek alphabet.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2019-01-22T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "abstraction", "emotions, concepts and ideas", "formal qualities", "gestural", "irregular forms", "knot", "non-representational", "objects", "religious and ceremonial", "tools and machinery", "wreath" ]

[ { "append_role_to_name": false, "date": "1944–1994", "fc": "Michael Buthe", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/michael-buthe-24250" } ]

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[ { "artistRoomsTour": false, "dateText": "16 February 2019 – 31 January 2021", "endDate": "2021-01-31", "exhibitionLegs": [ { "dateText": "16 February 2019 – 31 January 2021", "endDate": "2021-01-31", "id": 12400, "startDate": "2019-02-16", "venueName": "Tate Liverpool (Liverpool, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/liverpool/" } ], "id": 10110, "startDate": "2019-02-16", "title": "Lynda Benglis", "type": "Collection based display" } ]

[]

[ "abstraction", "artificial flower", "emotions, concepts and ideas", "formal qualities", "found object / readymade", "gestural", "irregular forms", "non-representational", "objects", "toys and models" ]

[ { "append_role_to_name": false, "date": "1924–2009", "fc": "Behjat Sadr", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/behjat-sadr-25132" } ]

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

[]

[]

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