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[ { "append_role_to_name": false, "date": "1901–1930", "fc": "Christopher Wood", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/christopher-wood-2167" } ]

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

[ { "map_gallery": "TSI", "map_gallery_label": "Tate St Ives", "map_level": "TSI_03", "map_level_label": "TSI Level 3", "map_space": "TSI31", "map_space_label": "Tate St Ives / TSI31", "map_wing": null, "map_wing_label": null, "map_zone": null, "map_zone_label": null, "nid": "479050" } ]

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[ { "artistRoomsTour": false, "dateText": "13 March 2021", "endDate": null, "exhibitionLegs": [ { "dateText": "13 March 2021", "endDate": null, "id": 14381, "startDate": "2021-03-13", "venueName": "Tate St Ives (St Ives, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/stives/" } ], "id": 11860, "startDate": "2021-03-13", "title": "Gallery 1: Modern Art and St Ives", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Porthmeor Beach, St Ives</i> 1928 depicts a small section of Porthmeor beach, a long sandy strip on the Atlantic coast of St Ives in south-west Cornwall. Less than half of the picture’s surface portrays the sand itself, the rest of the composition being devoted to houses, pathways and people on the streets behind, beneath a small portion of sky. The view shows Wood turning his back on the coast and sea. Instead it depicts everyday life on the bordering pathways which connect the beach to the town. Large grey rocks occupy the sandy terrain in the foreground. The sand especially has been painted in broad, dynamic brushstrokes of thickly applied paint, evocative of the malleability of sand. In the middle-ground a small figure wearing a black hat crosses the back of the beach, walking towards stone steps to the street above. Other figures populate the streets above, so that the scene seems to show quiet everyday activity. Two female figures are shown walking along the top of the wall on a pathway between the beach and a grassy bank that would lead them towards the town and harbour. Another female figure walks on a further raised path in front of some houses. A bright cream house has been painted with two black squares for windows, a black rectangle for a door and a triangular roof outlined with thick red lines. To a side of this house another smaller figure in black sits on a horse-led vehicle which seems to move towards an opening in the brown wall on the right-hand edge of the painting to the streets behind. Chimneys high in the distance also set this scene within the wider town. The sky of the scene is painted in a light blue-green characteristic of depictions of St Ives.</p>\n<p>\n<i>Porthmeor Beach, St Ives</i> is one of a series of works made around 1928, when Wood returned to St Ives, having first visited two years earlier in 1926. His friendship with the artists Ben and Winifred Nicholson (1894–1982; 1893–1981) had developed between 1926 and 1927, and Wood had visited their home in Cumberland the following spring. That summer he joined the Nicholsons on a visit to Cornwall, where they were staying with friends Marcus and Irene Brumwell near Helford. In late August or early September Wood visited St Ives with Ben, when they first met the untutored painter Alfred Wallis (1855–1942), an event recorded retrospectively in Andrew Lanyon’s painting <i>The Discovery of Alfred Wallis by Ben Nicholson and Christopher Wood on a Visit to St Ives in 1928 – 50 Years After –</i> 1978−9 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/lanyon-the-discovery-of-alfred-wallis-by-ben-nicholson-and-christopher-wood-on-a-visit-to-t15121\" title=\"View the details of this artwork\"><span>T15121</span></a>). Wallis lived and worked on Back Road West, a small road that runs behind Porthmeor Beach not far from the scene in this painting. </p>\n<p>Shortly after, both Wood and the Nicholsons rented rooms in St Ives. Joined now by Frosca Munster, Wood rented Meadow Cottage behind Porthmeor Beach. From there he entered an intense period of work characterised by a sense of enjoyment in observing the life of ordinary people in St Ives. Other works made during this stay include <i>Cornish Fishermen, the Quay, St Ives</i> 1928 (Aberdeen Art Gallery and Museums) and <i>The Fisherman’s Farewell</i> 1928 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/wood-the-fishermans-farewell-t07994\" title=\"View the details of this artwork\"><span>T07994</span></a>), which has been read as a portrait of the Nicholsons with their son Jake. Inscriptions on the reverse of <i>Porthmeor Beach, St Ives</i> show that the work was owned by Ben Nicholson while he was living at Chy-an-Kerris, his home in St Ives between 1942 and 1955. Another such work is Wood’s <i>Untitled (Helford)</i> c.1926 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/wood-untitled-helford-t15120\" title=\"View the details of this artwork\"><span>T15120</span></a>).</p>\n<p>\n<b>Further reading</b>\n<br/>Richard Ingleby, <i>Christopher Wood: An English Painter</i>, London 1995.<br/>Katy Norris, <i>Christopher Wood</i>, London 2016.</p>\n<p>Rachel Rose Smith<br/>July 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1901–1930", "fc": "Christopher Wood", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/christopher-wood-2167" } ]

[ { "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>Untitled (Helford)</i> c.1926 is a painting of Helford village, which lies on the Helford River, between Falmouth and the Lizard peninsula in south-west Cornwall. A riverside scene, it is painted in strong bold coloured oil paints applied heavily with a thick brush. The strength and darkness of colours are suited to the setting’s location as a creek surrounded by woodland. A prominent flagpole in the foreground with a red flag (possibly a sailing club ensign) locates the artist’s viewing position on the opposite bank to a cluster of village buildings. On the water and at the water’s edge are two moored boats and a large empty boathouse. A hill rises in the background and, towards the right edge, a single figure dressed in pink crosses a red bridge. The outlines of forms have been painted prominently in black, the boldness of which suggests strong shadows, as if this view was seen in the dark hours leading up to a storm or during the low evening light. Aside from the distant shape of the figure on the bridge, the village seems to be quiet and brought into the shade by clouds and the surrounding shape of the land.</p>\n<p>\n<i>Untitled (Helford)</i> is representative of the intentionally simple and direct work made by Wood during his first visit to Cornwall in 1926. With its bold black outlines, it is a deliberately naïve and quiet representation, painted with increased freedom from rules of composition and technique that artists had traditionally been taught. Although he started the year in Paris, in 1926 Wood connected increasingly with artistic networks in London, where his work was starting to receive attention among contemporary artists and critics. That June he moved to London with his friend Tony Gandarillas, and his work was included in London Group exhibitions that year. In the summer Wood and Gandarillas visited Cornwall and the Scilly Isles, a trip possibly inspired by the Cornish connections of Wood’s contacts in London including Frank Dobson, Augustus John, Cedric Morris and Matthew Smith, and by Wood’s mother’s family having originated from the north coast of Cornwall. Although Gandarillas left after a month in September, Wood stayed alone in St Ives in order to work. He wrote from St Ives during this time: ‘I am absolutely mad about my work and sit and think about it and do nothing else all day’ (quoted in Ingleby 1995, p.134).</p>\n<p>Towards the end of October, Wood returned to live in Chelsea with Gandarillas, where he finished off some of the work he had started in Cornwall. Although the arrangement of buildings in this work is still recognisable in Helford village today, it is possible that the work was worked up or completed from memory, a practice used by Wood throughout the 1920s. Inscriptions on the reverse of the painting show that <i>Untitled (Helford)</i> was in the collection of the artist Ben Nicholson (1894–1982) from at least the 1930s, while he was working in the Mall Studios, until 1958, when it passed to Sarah and Alan Bowness. It may have been one of a group of works that were received enthusiastically by Ben and Winifred Nicholson (1893–1981) towards the end of 1926, during the early days of their friendship with Wood. Winifred recalled that Wood ‘was showing us his summer’s work. It was the second time we had met. Crowded together in his small bedroom were an amazing array of canvases. He produced masterpiece upon masterpiece. The Red Dogs; the White Ship … a number of still and dark Cornish landstrips … we walked home in the high skies.’ (Quoted in Ingleby 1995, p.142.) Another such work that was also owned by Nicholson is Wood’s <i>Porthmeor Beach, St Ives</i> 1928 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/wood-porthmeor-beach-st-ives-t15119\" title=\"View the details of this artwork\"><span>T15119</span></a>).</p>\n<p>\n<b>Further reading</b>\n<br/>Richard Ingleby, <i>Christopher Wood: An English Painter</i>, London 1995.<br/>Katy Norris, <i>Christopher Wood</i>, London 2016.</p>\n<p>Rachel Rose Smith<br/>July 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1947", "fc": "Andrew Lanyon", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/andrew-lanyon-14025" } ]

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

[ { "map_gallery": "TSI", "map_gallery_label": "Tate St Ives", "map_level": "TSI_03", "map_level_label": "TSI Level 3", "map_space": "TSI31", "map_space_label": "Tate St Ives / TSI31", "map_wing": null, "map_wing_label": null, "map_zone": null, "map_zone_label": null, "nid": "479050" } ]

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[ { "artistRoomsTour": false, "dateText": "13 March 2021", "endDate": null, "exhibitionLegs": [ { "dateText": "13 March 2021", "endDate": null, "id": 14381, "startDate": "2021-03-13", "venueName": "Tate St Ives (St Ives, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/stives/" } ], "id": 11860, "startDate": "2021-03-13", "title": "Gallery 1: Modern Art and St Ives", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is an oil painting on a landscape board support, made on an intimate scale. It merges two scenes or spaces: on the left two small figures – which the work’s title tells us are the painters Ben Nicholson (1894–1982) and Christopher Wood (1901–1930) – are crossing The Island, a headland in St Ives, Cornwall; on the right a figure in black with a black cap – identified by the title as retired mariner and untutored painter Alfred Wallis (1855–1942) – stands in his St Ives house at a table. The white triangle in his hands probably refers to the variously shaped pieces of cardboard Wallis used as supports for his paintings (see, for example, <i>St Ives </i>c.1928, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/wallis-st-ives-t00881\" title=\"View the details of this artwork\"><span>T00881</span></a>). Unlike Nicholson and Wood, Wallis does not seem to look to the coast. A wall of his house is absent, which permits the viewer to look in and creates a configuration reminiscent of a theatre stage. This is a surreal and theatrical evocation of a moment well known within histories of modern art in St Ives, when Nicholson and Wood first encountered Wallis painting on boards at his table during a visit to St Ives in the summer of 1928. Wallis became for them an important example of the power of naïve expression, an untutored artist who could help artists and audiences to see the world afresh. The work is titled to suggest that it marks the moment of encounter between these men fifty years later, a symbol itself of the ongoing legacy of such an event.</p>\n<p>To the right of Wallis’s room, a single black ship seems to move in correspondence with a flowing sea. The coast here, painted as a white surface that bends into the distance, recalls the bird’s eye perspective Wallis frequently used to depict his memories of sea journeys and the coast. The shift in tone between the two sides, which are physically separated by the roof of Wallis’s room, also suggests that the scene is taking place during a separate moment or time of day, or in an imagined place. In its colour it could be seen to depict night time, or the surreal landscape of Wallis’s mind, with his memories and artistic visions. The painting could be read as a juxtaposition of artists approaching St Ives as visitors – tourists, even – looking outwards at the town and surrounding sea, and the artist who had lived his entire life there, painting images from his mind.</p>\n<p>Lanyon has shifted the presentation of this meeting away from an inward glance at Wallis, as recorded in photographs of his doorway, towards a more open view of Wood and Nicholson as visitors approaching from the horizon. The sparse configuration of the land and blending of perspectives give the work a quality of disquiet that encourages a reconsideration of the surreality of this important moment.<br/>This painting is characteristic of Lanyon’s work of the 1970s, when he was engaging with the politics and history of art and other industries in Cornwall, where he grew up. The political nature of landscape painting, especially in a post-industrial regional landscape such as Cornwall, was a topic that was also of great interest and inspiration to Peter Lanyon (1918–1964), Andrew Lanyon’s father. Here the son continues his father’s legacy, but in a very different style. This painting is characteristic of the quasi-surreal narrative scenes he made in the 1970s, which often included pared-down and sparsely populated stage-like settings with strong shadows and flat planes reminiscent of the surreal landscapes of Italian painter Giorgio de Chirico (1888–1978).</p>\n<p>Throughout his career Lanyon has played with the boundaries between fact and fiction, and with the mythologising representation of Cornwall and Cornish people in established histories of the place. Especially aware of narratives surrounding the artistic colony in St Ives, his work has sought to counter subtly these accepted ways of reading the place, and to reveal other darker histories. This extends also into his work in film, such as <i>Splatt dhe Wertha</i> (Plot for Sale), a Cornish-language film that deals with land ownership and power relations centre and periphery. His books and exhibitions merge known histories with imaginative reconstructions through texts and artworks in different media. For example, his book and exhibition <i>Von Ribbentrop in St Ives</i> (Helston and Kettle’s Yard, Cambridge 2010–11) dealt with the unlikely connections of the Nazi Foreign Minister Joachim Von Ribbentrop to the Cornish coast, revealing it as a location in danger of being claimed by disturbing contemporary political powers because of its qualities as a supposedly timeless and isolated resort.</p>\n<p>\n<b>Further reading</b>\n<br/>Andrew Lanyon, <i>The Rooks of Trelawne</i>, London 1976.<br/>Andrew Lanyon, <i>Von Ribbentrop in St Ives</i>, Helston 2011.</p>\n<p>Rachel Rose Smith<br/>July 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1961", "fc": "Meschac Gaba", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/meschac-gaba-8313" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 129412, "shortTitle": "Museum of Contemporary African Art" }, { "id": 999999956, "shortTitle": "Collection" } ]

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[ { "artistRoomsTour": false, "dateText": "7 August 2017 – 3 June 2018", "endDate": "2018-06-03", "exhibitionLegs": [ { "dateText": "7 August 2017 – 3 June 2018", "endDate": "2018-06-03", "id": 11536, "startDate": "2017-08-07", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 9538, "startDate": "2017-08-07", "title": "Meschac Gaba - Marriage Room", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>The <i>Marriage Room</i> is one section of Meschac Gaba’s multi-part installation the <i>Museum of Contemporary African Art </i>1997–2002. The <i>Marriage Room </i>is closely linked with the artist’s personal biography. In October 2000 at the Stedelijk Museum in Amsterdam, he (full name, Ekué Woekedje Meschac Gaba) legally married Antoinetta Georgina Alexandra van Dongen, a Dutch curator of pre-industrial design. Video and photographic documentation of the wedding ceremony, the marriage certificate, wedding dress and shoes, guest book and gifts all form part of this section of the <i>Museum of Contemporary African Art.</i>\n</p>\n<p>Meschac Gaba’s <i>Museum of Contemporary African Art </i>1997–2002 consists of twelve discreet but related large-scale installations. These sections are entitled <i>Draft Room </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/gaba-draft-room-from-museum-of-contemporary-african-art-t14004\" title=\"View the details of this artwork\"><span>T14004</span></a>), <i>Architecture Room </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/gaba-architecture-room-from-museum-of-contemporary-african-art-t14005\" title=\"View the details of this artwork\"><span>T14005</span></a>), <i>Museum Shop </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/gaba-museum-shop-from-museum-of-contemporary-african-art-t14006\" title=\"View the details of this artwork\"><span>T14006</span></a>), <i>Summer Collection </i>(Tate L03229), <i>Game Room </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/gaba-game-room-from-museum-of-contemporary-african-art-t14219\" title=\"View the details of this artwork\"><span>T14219</span></a>), <i>Art and Religion </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/gaba-art-and-religion-room-from-museum-of-contemporary-african-art-t14969\" title=\"View the details of this artwork\"><span>T14969</span></a>), <i>Museum Restaurant </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/gaba-museum-restaurant-from-museum-of-contemporary-african-art-t14220\" title=\"View the details of this artwork\"><span>T14220</span></a>), <i>Music Room </i>(Tate L03231), <i>Marriage Room </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/gaba-marriage-room-from-museum-of-contemporary-african-art-t15122\" title=\"View the details of this artwork\"><span>T15122</span></a>), <i>Library </i>(Tate L03236), <i>Salon</i> (Tate L03233) and <i>Humanist Space </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/gaba-humanist-space-from-museum-of-contemporary-african-art-t14007\" title=\"View the details of this artwork\"><span>T14007</span></a>). Each of these represents an aspect of what Gaba believes to be a core part of the museum’s function. A number of the sections are interactive and invite participation from the visitor. This discursive element of social interaction is fundamental to the work. The work can be shown in its entirety, or just one section or a group of sections can be displayed.</p>\n<p>Although the number of sections was fixed from the beginning, it took Gaba five years to complete the <i>Museum of Contemporary African Art</i> and over the years the sections have been exhibited in different ways. Several of its rooms were included in Documenta 11<i> </i>in Kassel in 2002 and individual sections or groups of rooms have been seen in museums across the world. The work<i> </i>was first exhibited in its entirety in 2009 at the Kunsthalle Fridericianum in Kassel.</p>\n<p>Gaba began working on the <i>Museum of Contemporary African Art </i>in 1997. He considered this ambitious project not as a model for others to emulate but as a catalyst for debate around preconceived notions of what African art is: ‘My museum doesn’t exist. It’s only a question … What I do is react to an African situation which is linked to a Eurocentric problem.’ (Gaba 2001, pp.16–17.) He continues, ‘I don’t come from traditional Africa but from modern Africa: that’s why I ask questions about the education I had. If I create a museum of contemporary African art, it’s because I say that people who gave me that education didn’t give us everything. They shut me up inside tradition.’ (Gaba 2001, p.18.) Gaba challenges ideas of an ‘authentic’ African expression and asserts his right as a Beninese living in the Netherlands to draw on both European and African influences. His museum is not a shrine to the object, but rather a space for social and cultural interaction, where the interconnectedness of art and life is made manifest.</p>\n<p>By titling this work <i>Museum of Contemporary African Art </i>Gaba draws attention to the fact that such a museum does not yet exist in Africa. Instead ethnographic museums in Europe and America define African art often by excluding contemporary artists, particularly those whose works break with tradition. Historian Simon Njami describes Gaba’s project as ‘a corrective to the history of past centuries. By once again placing Africa at the heart of universal creation, he is not simply content to affirm a forgotten and negated presence, but stresses his own existence … by staking a claim on the contemporary field.’ (Simon Njami, in Wolfs, Roesink and Visser 2010, p.10.) While this is a key work in the recent history of African art, it is also important within the lineage of critical reflections on the museum by European artists such as Marcel Duchamp (1887–1968) and Marcel Broodthaers (1924–1976). Although Gaba utilises the language of a Western museum, his approach is modest and the individual rooms containing different kinds of objects – including many that are painted gold, adorned with or made from shredded banknotes – invite visitor interaction. Curators and historians Okwui Enwezor and Chika Okeke-Agulu have argued that Gaba’s project evinces ‘a critique not only of the museum as an institution in which cultural value is produced, but also the museum as the symbolic realm in which such value is redistributed as cultural capital.’ (Okwui Enwezor and Chika Okeke-Agulu, <i>Contemporary African Art since 1980</i>, Bologna 2009, p.16.)</p>\n<p>\n<b>Further reading</b>\n<br/>Meschac Gaba, <i>Library of the Museum</i>, vol.1, Breda 2001.<br/>Rein Wolfs, Macha Roesink and Bianca Visser (eds.), <i>Meschac Gaba</i>, Cologne 2010.<br/>Okwui Enwezor, ‘Meschac Gaba Museum of Contemporary African Art (Draft Room)’, in <i>Defining Contemporary Art: 25 Years in 200 Pivotal Artworks</i>, London 2011, p.224.</p>\n<p>Kerryn Greenberg<br/>June 2012</p>\n</div>\n", "display_name": "Summary", "publication_date": "2020-01-08T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1926–2017", "fc": "Gustav Metzger", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/gustav-metzger-7196" } ]

[ { "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": "5 May 2022 – 4 September 2022", "endDate": "2022-09-04", "exhibitionLegs": [ { "dateText": "5 May 2022 – 4 September 2022", "endDate": "2022-09-04", "id": 14332, "startDate": "2022-05-05", "venueName": "Tate Liverpool (Liverpool, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/liverpool/" }, { "dateText": "1 October 2022 – 22 January 2023", "endDate": "2023-01-22", "id": 15175, "startDate": "2022-10-01", "venueName": "Mead Gallery (Coventry, UK)", "venueWebsiteUrl": "http://www.warwickartscentre.co.uk" } ], "id": 11820, "startDate": "2022-05-05", "title": "Radical Landscapes", "type": "Exhibition" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Till we have built Jerusalem in England’s green and pleasant land</i> 1998 presents a large, mounted photographic print in colour, showing the construction of the M3 motorway at Twyford Down just outside Winchester. Wrapped around the back of the photograph, and partially framing and obscuring it, are two metal caterpillar tracks of the same length, such as might be found on large construction vehicles used to build roads and motorways. One track is smaller in height and rests on top of the larger.</p>\n<p>The work is from Metzger’s series of <i>Historic Photographs</i> that was first exhibited in its entirety in his survey exhibition in 1998 at the Museum of Modern Art Oxford. The earliest of the works had been fabricated first for an exhibition at the book space workfortheeyetodo, London and then for <i>Life/Live</i> at the Musée d’art moderne de la ville de Paris, both in 1996. The idea for the <i>Historic Photographs</i> had occupied Metzger since 1994, when he returned to London from a period of almost twenty years travelling in Europe. Like his theory of ‘auto-destructive art’, these works were conceived as public works of art, but rather than use destructive forces within the work he concentrated on historical news imagery. The series adopted strategies that engaged with the spectator’s reaction to and relationship with such imagery, throwing a spotlight on the mechanics and meaning of photographic image-making and its status within the production, delivery and reception of news. The most immediately apparent aspect of the <i>Historic Photographs</i> is that they did not present themselves so much as photographs, but as objects in space with the photographic element often hidden from sight, obscured or, as with <i>Till we have built Jerusalem</i>, partially framed by accompanying objects. In one sense, this strategy of hiding the image aimed to give ‘photography a new significance, another lease of life’, whilst at the same time also ‘to put photography down’ (Metzger 1999, p.32). For this series, Metzger chose images that were so well-known that he felt they could no longer be properly seen, or their true significance no longer recognised. He saw the <i>Historic Photographs</i> as offering a situation where ‘a new start is available. We cannot be sure what we are looking at. Memory and recall are in action, but what certainties are there?’ (Ibid., p.33.)</p>\n<p>However, of more importance to Metzger than simply covering over the image, was his desire to create a situation whereby the spectator would view the image in a new proximity, an experience that would be directed by the particular materials he chose to use. In his first public talk on the subject, <i>The Exclusion of the Spectator in Art</i>, Metzger explained that:</p>\n<p class=\"cttext\">\n</p><blockquote>the material must speak. If that is the starting point then one is on the right way. The material needs to exude the presence of the subject … The subject needs as it were to power through the cover. The cover in this sense is porous permitting the depicted image a transmission toward the public … A sculptural form is created whose meaning is inextricably interwoven with the presented image … The sculptural form itself is the equivalent of the image.<br/>(Gustav Metzger, ‘Notes re workfortheeyetodo, before talk’, holograph notes, 1996, Tate Archive TGA8229, folder 5.)</blockquote>\n<p>In <i>Till we have built Jerusalem </i>this aim is described by the way in which the vast caterpillar tracks frame the photograph of the cutting that slices through the chalk downland at Twyford Down to create an extension for the M3 motorway; in 1992 and 1993 the Down became a site of orchestrated yet unsuccessful protests against the building of the motorway.</p>\n<p>The source photographs for the <i>Historic Photographs</i> series include imagery of the Nazi Holocaust, the Israeli conflict in the Middle East, the Vietnam War, the Oklahoma City bombing, the desecration of Twyford Down and the conflict in Serbia and the former Yugoslavia. These are all images that show humanity in peril at its own hands, whether through war, terror or the destruction of the natural environment, driven by bigotry, dogma, greed or the absence of belief; as public art they echo Metzger’s ideal for auto-destructive art: ‘We want monuments – to the power of man to destroy all life … We are concerned with a Pharaonic vision.’ (Gustav Metzger, untitled statement in <i>Art and Artists</i>, vol.1, no.5, August 1966, p.22.) The<i> Historic Photographs</i> continue Metzger’s engagement with the imagery of newspapers and the mass media that he had first formulated for the <i>Festival of Misfits</i> in 1962. However, with <i>Till we have built Jerusalem</i> this is directed at his interest in the threat to natural ecology that he had first been made aware of in 1944 when working as a gardener in the organic garden of Champneys Nature Cure Clinic at Tring in HertfordshireertfoH. This became an abiding subject for Metzger, underpinning the evolution of his theories of auto-destructive art in the early 1960s and continuing right up to his investigation of the subject of extinction, most recently realised in his project <i>Remember Nature </i>2015. The first exhibition of the <i>Historic Photographs</i> in 1996 coincided with the publication of his text ‘Nature Demised Resurrects as Environment’ in the book <i>Damaged Nature</i>; while the second exhibition of these works in 1996 also included a slide projection that took Mad Cow disease as its subject, <i>Mad Cows Talk </i>1996.</p>\n<p>\n<i>Till we have built Jerusalem in England’s green and pleasant land</i> was exhibited in the survey exhibition <i>Gustav Metzger</i> at the Museum of Modern Art Oxford in 1998 and its subsequent tour to Spacex in Exeter. It was then exhibited in <i>Gustav Metzger, History History</i> at the Generali Foundation, Vienna in 2005 and at the Lunds Konsthall Lund, Sweden in 2006. For <i>Gustav Metzger Works 1995–2007</i> at the Zacheta National Gallery of Art in Warsaw, the photograph was exhibited alongside a set of massive truck tyres, as the floor of the art gallery could not bear the weight of the caterpillar tracks; this formulation was repeated for <i>Gustav Metzger: Historic Photographs</i> at the New Museum, New York in 2011, where a replica following the display at Warsaw was fabricated and, after the exhibition, destroyed.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Gustav Metzger</i>, exhibition catalogue, Museum of Modern Art Oxford 1998.<br/>Gustav Metzger, ‘Killing Fields: Sketch for an Exhibition’, <i>Camera Austria International</i>, no.67, 1999, pp.30–7.<br/>\n<i>Gustav Metzger, History History</i>, exhibition catalogue, Generali Foundation, Vienna 2005.</p>\n<p>Andrew Wilson<br/>January 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1959", "fc": "Lisa Milroy", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/lisa-milroy-2220" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Weaving (Red) </i>2016 is a large rectangular painting in oil on canvas. A painted woven pattern in red, yellow, pink, orange, green and burgundy repeats itself over the length and width of the canvas. The weave and weft of the painted fabric is rendered realistically enough to be instantly recognised as a woven fabric, yet loosely enough to draw attention to the process of mark-making and the materiality of the paint. As with previous paintings of grid-like compositions of categorised objects (such as <i>Shoes</i> 1995, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/milroy-shoes-t06532\" title=\"View the details of this artwork\"><span>T06532</span></a>), the painting offers simple representation; what the artist has referred to as ‘giving space to looking’ (quoted in Tate Liverpool 2001, p.17).</p>\n<p>\n<i>Weaving (Red) </i>is one of a series of weaving paintings which Milroy has been making since 2016. These paintings stem from her interest in pattern and cloth, as seen in the installation and performance work <i>Party of One </i>2013 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/milroy-party-of-one-t15253\" title=\"View the details of this artwork\"><span>T15253</span></a>) in which painting and fabric are combined. The weaving paintings recognise the fabric of the canvas itself, also a woven textile, as well as referencing the motif of weaving in the history of painting, and its metaphoric associations. They are concerned with what the artist has described as ‘the subject of time in painting with regard to making, looking and becoming; the embodiment of time through material form; and the pleasure of colour’ (conversation with Tate curator Aïcha Mehrez, May 2018). This has been an ongoing theme since Milroy’s early work, as described by the curator Lynne Cooke in the catalogue for the artist’s exhibition at Third Eye Centre in Glasgow in 1989:</p>\n<p class=\"cttext\">\n</p><blockquote>Milroy not only isolates her subjects but abstracts their ambiences, divesting them of all identifiable, specific situations … The combined effect of treating the objects as generic types rather than as individuated items, and of neutralising their milieu, is to redirect the viewer’s focus to the act of picturing as a process worthy of attention in itself. This calling into being of images becomes a self-reflexive act for the viewer as well as the maker, as picturing, not perception, becomes the central concern.<br/>(Lynne Cooke, in Third Eye Centre and Southampton City Art Gallery 1989, unpaginated.)</blockquote>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Lisa Milroy</i>, exhibition catalogue, Third Eye Centre, Glasgow and Southampton City Art Gallery 1989.<br/>\n<i>Lisa Milroy</i>, exhibition catalogue, Tate Liverpool 2001.<br/>\n<i>Lisa Milroy: Painting Fast, Painting Slow</i>, exhibition catalogue, Alan Cristea Gallery, London 2005.</p>\n<p>Aïcha Mehrez<br/>May 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1882–1935", "fc": "Gaston Lachaise", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/gaston-lachaise-27786" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Elevation</i> is a life-size bronze sculpture of a female nude which derives its title from the figure’s tip-toed pose. Its apparent weightlessness defies the ample proportions of the figure and the weight of the sculptural material. Having emigrated from France to the United States in 1906, Gaston Lachaise became an important figure in the cultural trans-Atlantic exchanges of the early twentieth century. <i>Elevation </i>is one of his most recognised works. It garnered notoriety when shown in the artist’s first solo exhibition (held at the Stephan Bourgeois Galleries in New York in 1918) in the dual contexts of rights for women and wartime memorialisation. Lachaise himself saw the female figure as an archetypal embodiment of natural forces. In ‘A Comment on My Sculpture’ made at the time that the bronze of <i>Elevation </i>was first exhibited in 1928, he wrote of the archetypal ‘Woman’: ‘Soon she came to forceful repose, serene, massive as earth, soul turned towards heaven … Then “Woman” rose again, upstanding, noble, bountiful, poised on her toes, with closed self-absorbed eyes, nearly detached from earth.’ (Gaston Lachaise, ‘A Comment on My Sculpture’, <i>Creative Art</i>, August 1928, reprinted in Champion 2003, 2007, pp.133–4.) </p>\n<p>This clear reference to <i>Elevation</i> epitomised<i> </i>Lachaise’s highly-charged language. The source of his inspiration for the figure was Isabel Dutaud Nagle, his partner since 1902. Lachaise followed her to Boston in 1906 and, after her divorce from her first husband, they married in New York in 1917. Their life ran at a high emotional level, as attested by the 567 surviving letters that the sculptor wrote to Nagle between 1910 and 1935 (Paula R. Hornbostel, ‘Portrait of Isabel: The Letters and Photographs of Gaston Lachaise’, in Champion 2007, p.92). A similar openness and intensity is seen in Nagle posing nude for Lachaise’s photographs. Historian Paula R. Hornbostel has proposed that the series of photographs ‘constitutes a useful index of the body Lachaise loved’ (Hornbostel 2007, p.114), and has published an image of ‘Isabel, arms raised, left foot pointed, Georgetown, Maine’, c.1913 (Hornbostel 2007, p.102) which is close in pose to <i>Elevation</i>.</p>\n<p>Beyond this private world, Lachaise served as an assistant to the American sculptor Paul Manship (1885–1966) before establishing his own reputation. Lachaise’s most visible public commissions were the Art Deco reliefs for the International Building in the Rockefeller Plaza in New York made in 1934; these were followed by a retrospective at the Museum of Modern Art, New York in 1935. </p>\n<p>\n<i>Elevation </i>was shown as a plaster in 1918 and began to be cast in bronze from 1927. Of the edition of twelve, ten are in American museums and two in private collections. Five were cast in the artist’s lifetime (Art Institute of Chicago; Metropolitan Museum of Art, New York; Albright-Knox Art Gallery, Buffalo; Saint Louis Art Museum; Philadelphia Museum of Art). Three posthumous casts were made during the lifetime of Lachaise’s widow, Isabel (Virginia Museum of Fine Arts, Richmond, Virginia; Whitney Museum of American Art, New York; Baltimore Museum of Art). The Lachaise Foundation was established in New York in 1964 and cast a further four sculptures between then and 1967, in order to complete the artist’s edition of twelve (The John and Mable Ringling Museum of Art, Sarasota; Nasher Sculpture Center, Dallas; John D. Rockefeller Estate, Kykuit, Pocantico Hills, New York State; private collection, United States of America). Tate’s cast, the last and a unique artist’s proof aside from the edition of twelve, was made at the Modern Art Foundry in Queens, New York in 2012 and is the only cast in Europe.</p>\n<p>\n<b>Further reading</b>\n<br/>Jon Wood, <i>Gaston Lachaise and ‘Elevation’ 1912–27</i>, exhibition leaflet, Henry Moore Institute, Leeds 2003.<br/>Virginia Budny, ‘Gaston Lachaise’s American Venus: The Genesis and Evolution of “Elevation”’, <i>American Art Journal</i>, no.34–5, 2003–4, pp.62–143.<br/>Jean-Loup Champion, <i>Gaston Lachaise: Sculptures and Drawings</i>, Paris 2003, 2007.</p>\n<p>Matthew Gale<br/>May 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This life-size nude sculpture is made from bronze. The woman is standing on her tiptoes, arms raised and eyes closed. The work’s title, <i>Elevation,</i> is taken from the figure’s tip-toed pose. The sculpture’s apparent weightlessness stands in contrast to the heavy bronze material. <i>Elevation </i>was first shown in New York City in 1918. It was seen within the contexts of the rights for women movement and memorialising the First World War. Lachaise saw the figure as an ‘embodiment of natural forces.’ He wrote that the woman ‘rose again, upstanding, noble, bountiful, poised on her toes, with closed self-absorbed eyes, nearly detached from earth.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2021-04-20T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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[ { "append_role_to_name": false, "date": "born 1949", "fc": "John Stezaker", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/john-stezaker-2000" } ]

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

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[ { "append_role_to_name": false, "date": "1926 – 2021", "fc": "Vera Spencer", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/vera-spencer-27762" } ]

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

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Artist versus Machine </i>is a landscape-format work made around 1954. The background is made of orange, red and green coloured paper, on which the artist overlaid two rows of twenty punched cards, painted with gouache in violet, red, black and browns. The grid formed by the punched cards, stitched together in two chains, is not entirely regular as the cards are not perfectly aligned, some sitting slightly higher or lower than the others over the two rows. Irregular quadrilateral pieces of yellow, pink, black, brown, violet and purple paper are applied irregularly over some of the cards. One card in the top row and two adjacent ones in the bottom row are nearly completely covered with paper cut-outs. The top of the first card on the left of the top row is overlaid with an irregularly cut strip of paper featuring the artist’s name in capital, typeset and printed white letters on a black background. The punched cards used in the work are of the type first demonstrated by the French weaver and merchant Joseph Marie Jacquard in the early nineteenth century, and used in the mechanical looms for weaving cloth that he conceived, in which a chain of punched cards laced together allowed the loom to create complex patterns.</p>\n<p>Spencer’s <i>Artist versus Machine</i> can be seen as a metaphor for the complex relationship between man and machine. On the one hand, the punched loom cards stand for mechanical automation and, from the 1940s, computing. On the other hand, the work’s irregular arrangement of elements, the non-orthogonal nature of its ephemeral paper cut-outs and the inclusion of the printed name of the artist signal the rejection of systemic, modular structures and impersonal, clear-cut aesthetics. It suggests a communality of approach with many other artists who engaged with the machine and its aesthetics in the aftermath of the Second World War and who, having registered the trauma of the war, were diffident towards the slick output of the machine while nonetheless wanting to express hope for the reconciliation of man and machine in a drive towards collective social advancements.</p>\n<p>Spencer’s <i>Artist versus Machine </i>was produced around the time of an eponymous exhibition that took place from 19 May to 9 June 1954 in London at the Building Centre, a venue that aimed to promote architecture and new construction. The show<i> </i>was organised by the artists Victor Pasmore, Kenneth Martin and Robert Adams together with the architect John Weeks, a group who had already collaborated on three ‘Weekend Exhibitions’ that took place at the artist Adrian Heath’s studio at 22 Fitzroy Street, London in 1952–3 (the last of which also included Spencer’s work). <i>Artist versus Machine </i>featured works by Robert Adams, John Ernest, Adrian Heath, Anthony Hill, Kenneth Martin, Mary Martin, John McHale, Eduardo Paolozzi, Victor Pasmore and Spencer herself, among others. While a catalogue of the actual works exhibited has not been traced, it is likely that – given the title – Spencer’s <i>Artist versus Machine</i> was included in the exhibition. The show promoted the use of machine-made materials and industrial techniques, advocating that art should engage with technology, science and architecture.</p>\n<p>Reviewing the exhibition, the architectural critic Reyner Banham criticised the exhibited artists’ ‘frequent reliance on Simple-Simons geometries’, blaming them for remaining bound to machine aesthetics which were rooted in earlier developments and not in tune with the contemporary period (Banham, ‘Match Abandoned’, <i>Art News and Reviews, </i>vol.6, no.9, 29 May 1954, p.7). In fact, Spencer’s work of the time, and that of many of the other artists shown, was not restricted by the formal approach and aesthetic qualities of the machine. The use of found and discarded mechanical and technological items, and their irregular, non-orthogonal arrangement in <i>Artist versus Machine</i>, speaks of a more nuanced relationship with the materials and processes of the mechanical age.</p>\n<p>Spencer’s earlier collaged work, such as <i>Collage I </i>c.1952, included fragments of newspaper articles referring to the role of machines and factories in society, and in 1954 she introduced technological tools into her collages for the first time, producing a small number of collages with loom cards around 1954. These works enjoyed wide exposure, being selected for other important exhibitions in 1954 other than <i>Artist versus Machine</i>, including <i>Collages and Objects</i> at the Institute of Contemporary Arts, London (13 October–20 November 1954) and <i>Collages </i>at the Galerie Aujourd’hui, Paris (12–30 November 1954).</p>\n<p>It is not certain whether Spencer titled her work after the exhibition or vice versa. In 1952 she had already titled a collage exhibited in Paris after the name of the gallery in which it was shown: <i>Galerie Arnaud</i> 1952. This work featured collaged, printed text including the name of the gallery, ‘Arnaud’, the artist’s first name, ‘Vera’, and the name of the city in which it was exhibited, ‘Paris’. This approach seems to suggest that, in the early 1950s, Spencer was creating new work that directly responded to the specific context of its display. </p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Vera Spencer, Paintings &amp; Collages 1950s–1960s</i>, exhibition catalogue, Paisnel Gallery, London 2007.<br/>Alastair Grieve, ‘Towards an Art of Environment: Exhibitions and Publications by a Group of Avant-garde Abstract Artists in London 1951–55’, <i>Burlington Magazine</i>, vol.132, no.1052, November 1990, pp.773–81, reproduced p.778.</p>\n<p>Elena Crippa<br/>May 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Vera Spencer made <i>Artist versus Machine</i> with punched cards used in mechanical looms to create complex patterns. The cards are the precursors of computer programmes, and stand for mechanical automation. The work also includes hand-made paper cut-outs in an irregular arrangement. It can be seen as a metaphor for the complex relationship between humans and technology. The Second World War had seen machines used for violence and destruction. But in the years that followed there was still hope that technology could be harnessed for collective social good. </p>\n</div>\n", "display_name": "Display caption", "publication_date": "2023-09-26T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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[ { "append_role_to_name": false, "date": "1934 – 2021", "fc": "Phillip King", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/phillip-king-1411" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Pitcher and Cup</i> 1996 is an unglazed upright ceramic sculpture that stands just under a metre in height. It is composed of three elements that form the vessels of the work’s title, with the small cup sitting in a cone-shaped holder atop a waisted upright form. The lower section contains a water spout and the form’s continuous rhythmic line appears to reference the sculpture of Constantin Brancusi (1876–1957), an artist King greatly admires. The middle cone-like section and upper bowl are suggestive of some form of ritualistic practice. The artist has described his thought processes in making this work:</p>\n<p class=\"cttext\">\n</p><blockquote>Much as the cone has been a recurring shape in my more constructed work the barrel shape is one of the basic units I use in my ceramics. It is the most self-supporting form possible using clay. Making a straight column out of clay would not work as well as giving it a barrel shape, it would collapse sooner and not be as tall. Making <i>Pitcher and Cup</i> 1996 I imagined pouring water or a liquid inside and working out how it might travel on its inside journey before being poured out of some unexpected orifice. Also there is an intended tilting mechanism that would make an imagined pouring possible. I am not interested in the actual practicality of the operation but only in its imaginary possibility, a bit of a confounding experience perhaps. </blockquote>\n<blockquote>(Phillip King in email correspondence with Tate curator Clarrie Wallis, 18 January 2018.)</blockquote>\n<p>Also in Tate’s collection is the slightly earlier <i>Bodhisattva </i>1995 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/king-bodhisattva-t15130\" title=\"View the details of this artwork\"><span>T15130</span></a>), another vase-like or barrel-shaped sculpture on a similar scale and also made in unglazed ceramic. Both works draw on the history and technique of Japanese ceramic arts in which King became interested as early as 1969. He had been encouraged to revolutionise his sculptural practice in the 1960s by a combination of personal dissatisfaction with the figurative, expressionistic sculpture of the 1950s and exposure to new American painting. At the same time, his travels to Japan and the Far East from 1969 onwards introduced him to the concept of Buddhism and enabled him to find out about Japanese ceramic making (Jomon), both of which were to have a significant influence on his practice, encouraging him to draw on influences beyond western art historical sources. King has subsequently visited Japan on more than twenty occasions and his experience of the country remains a strong influence on his practice.</p>\n<p>King was invited to participate in the World Expo at Osaka in 1969 by the Iron and Steel Federation of Japan and the Mainichi Press, who were hosts to a group of international artists. He had the opportunity to stay mostly in the ancient capital of Kyoto for three months. It took several years for the experience to percolate through his work, but it would lead him to explore a wider range of materials and focus on their different inherent qualities. King’s interest in Japanese ceramics began in earnest in the mid-1970s when the Zen tradition became equally if not more important to his own Christian background, and he developed an interest in Zen ceramics. He became particularly interested in the Japanese Tea Ceremony and, after having read <i>The Book of Tea</i> (1906) by Kakuzō Okakura in the 1980s, he discovered the Jomon culture which King believes ‘still remains somewhat invisible even in Japan having its beginnings in the Hunter Gatherer period dating back 10,000 years’ (ibid.). King has explained the relevance of this to aspects of his own sculptural and ceramic practice: </p>\n<p class=\"cttext\">\n</p><blockquote>I believe that ceramic was the central part of the culture and they buried their dead in human size pots, the earliest ceramics even predates the Chinese early ceramics. The Jomon fired their clay to 8 or 9 hundred degrees Celsius and often worked on the inside of the clay form with strange vegetable and animal forms. You might describe it as the ‘art of the hollow’ which is something I am involved with in my own work. As far as ceremonial manifestation in Japanese art is concerned I am equally fascinated by the Noh theatre which treats stillness and silence as a dramatic form which also has been part of my sculptural quest. I also enjoy the relaxed and entertaining art of Kabuki, and my favourite musical instrument is the Japanese flute. It makes a haunting sound and I wish I could play the one I have. </blockquote>\n<blockquote>(Ibid.)</blockquote>\n<p>During the 1980s, King was given the use of a fully equipped potter’s studio in Japan for a few years, and would go there two or three times a year for three to four weeks at a time. He also had a teacher that taught him the techniques of working the wheel and glazing. However, his unusual use of polystyrene as a way to establish the form is entirely self-taught, using a special technique he developed in the mid-1960s. As in the case of these two works, different grades of polystyrene were used to make the basic, often barrel-shape forms which are then covered with what is known as paper clay. The clay is dried quickly with a powerful blowtorch without risks of splitting due to shrinkage.</p>\n<p>King’s concern with ceramics in general can be traced back to his childhood in Tunis where he used to dig soft clay from a beach near his house to make pots and small animals’ head. His involvement with the immediacy of this material continued during his three years as a student at Cambridge University where, while studying modern languages, he spent much of his time modelling sculptures in clay. While King’s clay sculptures of the 1990s develop his fascination with the Jomon’s ritualistic vessel forms, they also reflect his investigations into cutting his sculptures open to understand their density and volume and, in the case of works such as <i>And the Birds Began to Sing</i> 1964 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/king-and-the-birds-began-to-sing-t00737\" title=\"View the details of this artwork\"><span>T00737</span></a>), ideas of interiority and exteriority.</p>\n<p>Clarrie Wallis<br/>January 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2024-02-02T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1967", "fc": "Olafur Eliasson", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/olafur-eliasson-5239" } ]

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

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[ { "artistRoomsTour": false, "dateText": "11 July 2019 – 21 June 2020", "endDate": "2020-06-21", "exhibitionLegs": [ { "dateText": "11 July 2019 – 5 January 2020", "endDate": "2020-01-05", "id": 12360, "startDate": "2019-07-11", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" }, { "dateText": "14 February 2020 – 21 June 2020", "endDate": "2020-06-21", "id": 13492, "startDate": "2020-02-14", "venueName": "Guggenheim Museum (Bilbao, Spain)", "venueWebsiteUrl": null } ], "id": 10184, "startDate": "2019-07-11", "title": "Olafur Eliasson: In real life", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "14 February 2020 – 4 April 2021", "endDate": "2021-04-04", "exhibitionLegs": [ { "dateText": "14 February 2020 – 4 April 2021", "endDate": "2021-04-04", "id": 13921, "startDate": "2020-02-14", "venueName": "Guggenheim Museum (Bilbao, Spain)", "venueWebsiteUrl": null } ], "id": 11500, "startDate": "2020-02-14", "title": "Olafur Eliasson: In Real Life", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "8 June 2021 – 14 January 2024", "endDate": "2024-01-14", "exhibitionLegs": [ { "dateText": "8 July 2021 – 14 November 2021", "endDate": "2021-11-14", "id": 13892, "startDate": "2021-07-08", "venueName": "Museum of Art Pudong (Shanghai, China)", "venueWebsiteUrl": null }, { "dateText": "20 December 2021 – 8 May 2022", "endDate": "2022-05-08", "id": 14739, "startDate": "2021-12-20", "venueName": "Buk-Seoul Museum of Art (Seoul, South Korea)", "venueWebsiteUrl": null }, { "dateText": "15 June 2022 – 13 November 2022", "endDate": "2022-11-13", "id": 15094, "startDate": "2022-06-15", "venueName": "ACMI (Melbourne, Australia)", "venueWebsiteUrl": null }, { "dateText": "25 February 2023 – 25 June 2023", "endDate": "2023-06-25", "id": 14740, "startDate": "2023-02-25", "venueName": "Auckland Art Gallery (Auckland, New Zealand)", "venueWebsiteUrl": null }, { "dateText": "12 July 2023 – 2 October 2023", "endDate": "2023-10-02", "id": 14538, "startDate": "2023-07-12", "venueName": "National Art Center (Tokyo, Japan)", "venueWebsiteUrl": null }, { "dateText": "26 October 2023 – 14 January 2024", "endDate": "2024-01-14", "id": 14537, "startDate": "2023-10-26", "venueName": "Nakanoshima Museum of Art (Osaka, Japan)", "venueWebsiteUrl": null } ], "id": 11474, "startDate": "2021-06-08", "title": "Light", "type": "Tate partnerships & programmes" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Stardust Particle</i> 2014 is a hanging sculpture that features two irregular polyhedra forms, one embedded within the other, to form a single spheroid made of partially reflective, translucent filter glass and thin stainless steel struts. The vertices of the outer polyhedron, which appears as a steel framework, correspond to the centres of the glass pentagonal faces of the inner form. Depending on the lighting conditions and position of the viewer, the artwork changes appearance as the panes of partially reflective filter glass catch the light and reflect the surroundings. To amplify this effect, the sphere is suspended from a motor that causes it to steadily rotate, and a tripod-mounted spotlight is situated near to the suspended sculpture, projecting light onto its panels and causing reflections around the space where the work is hung.</p>\n<p>Eliasson began making works that explored light and colour while he was a student at the Royal Danish Academy of Arts in Copenhagen between 1989 and 1995, and these have remained cornerstones of his practice, as both media and subject matter. Initially it was the artistic and scientific properties of light and colour that were his primary interest; from 2003 onwards, however, he became more concerned with their psychological and physical effects – at its simplest, how light and colour can manipulate how one feels in a particular environment. This interest was evident in <i>The Weather Project </i>2003, his installation of a giant ‘sun’, composed of 200 yellow mono-frequency lamps, in the Turbine Hall at Tate Modern, London as part of the Unilever Series. It is also embodied in <i>Stardust Particle</i>, in which he uses light as a means of connecting the viewer to the work and so encouraging them to feel included within the gallery space. The work demonstrates Eliasson’s ongoing exploration of light and colour as a mode of intervention within public (institutional or civic) spaces, while also introducing a different element of his practice, and something that has become a special point of interest for him in recent years: the use of complex geometrical structures.</p>\n<p>\n<i>Stardust Particle </i>is similar in composition and operation to an earlier work, <i>Yellow versus Purple</i> 2003 also in Tate’s collection (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/eliasson-yellow-versus-purple-t11806\" title=\"View the details of this artwork\"><span>T11806</span></a>), though<i> </i>it creates a different effect. This earlier work includes a disc of glass that is suspended from a steel cable linked to a motor and illuminated by a tripod-mounted light so as to throw coloured shadows onto the wall behind. Viewers are invited to walk through, and become part of, the installation.<br/>\n<i>Stardust Particle</i> was conceived for and first shown in the artist’s solo exhibition <i>Contact</i> at Fondation Louis Vuitton, Paris in 2014–15, in which Eliasson proposed contact as a form of social inclusion. He has said:</p>\n<p class=\"cttext\">\n</p><blockquote>Contact can be a greeting, a smile, the feeling of another person’s hand in your hand. To be in contact is to be in touch with the good things in life as well as the difficult things in life. Contact is not a picture, it is not a representation; it is about your ability to reach out, connect, and perhaps even put yourself in another person’s palace. For me, contact is where inclusion begins.<br/>(Artist’s statement, <i>Contact</i>, Fondation Louis Vuitton, Paris, 2014, <a href=\"http://www.fondationlouisvuitton.fr/en/expositions/exposition-olafur-eliasson-contact.html\">http://www.fondationlouisvuitton.fr/en/expositions/exposition-olafur-eliasson-contact.html</a>, accessed November 2017.)</blockquote>\n<p>\n<b>It was subsequently included in his exhibition </b><b>Nothingness is nothing at all</b><b> at the Long Museum, Shanghai in 2016.</b>\n</p>\n<p>\n<b>Further reading</b>\n<br/>\n<b>Olafur Eliasson, </b><a href=\"https://www.google.co.uk/search?tbo=p&amp;tbm=bks&amp;q=inauthor:%22Gijs+van+Tuyl%22\">Gijs van </a><a href=\"https://www.google.co.uk/search?tbo=p&amp;tbm=bks&amp;q=inauthor:%22Gijs+van+Tuyl%22\">Tuyl</a><b>, </b><a href=\"https://www.google.co.uk/search?tbo=p&amp;tbm=bks&amp;q=inauthor:%22Holger+Broeker%22\">Holger </a><a href=\"https://www.google.co.uk/search?tbo=p&amp;tbm=bks&amp;q=inauthor:%22Holger+Broeker%22\">Broeker</a><b>, </b><b>Your Lighthouse: Works with Light</b><b> </b><b>1991–2004</b><b>, London 2004.</b>\n<br/>\n<b>Madeline Grynszetejn, </b><b>Take Your Time: Olafur Eliasson</b><b>, exhibition catalogue, San Francisco Museum of Modern Art, 8 September 2007–4 February 2008.</b>\n<br/>\n<b>Olafur Eliasson and Phillip Ursprung (eds.), </b><b>Studio Olafur Eliasson: An Encyclopedia</b><b>, London 2016.</b>\n</p>\n<p>\n<b>Emma Lewis</b>\n<br/>\n<b>November 2017</b>\n</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1977", "fc": "Alice Channer", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/alice-channer-11556" } ]

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[ { "artistRoomsTour": false, "dateText": "22 April 2019 – 5 September 2021", "endDate": "2021-09-05", "exhibitionLegs": [ { "dateText": "22 April 2019 – 5 September 2021", "endDate": "2021-09-05", "id": 13018, "startDate": "2019-04-22", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 10720, "startDate": "2019-04-22", "title": "Sixty Years Refresh", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Soft Sediment Deformation, Upper Body (quilted gray)</i> 2018 is a diptych of heavy Crepe de Chine fabric that has been printed on and then pleated using a specialist pleating technique that is usually reserved for the fashion industry. The printed image is complicated by the rows of chevron pleats in the fabric, which produce an image that looks like the creases in the palm of a hand or a stretch of quilted grey fabric. In the left panel of the diptych, the image runs full bleed across the fabric. In the right panel, approximately two-thirds of the fabric’s area is covered by the image. In both panels the full width and breadth of the fabric is pleated, giving the work the texture of fish scales and producing a pixelated effect.</p>\n<p>The image rendered in the work is a photograph of the Crackington Formation, a section of quilted granite rock which forms part of the Devon coastline in the south-west of England. The geological process behind such a rock formation is called ‘soft sediment formation’, a tern Channer inverts in the work’s title. Channer printed the image of this rock formation on to the Crepe de Chine fabric, which was then laid onto a pleating mould, compressed and steamed at high temperature until it took on the shape of the mould.</p>\n<p>The artist imagines the pleating process to be similar to the geological processes involved in the formation of the rock. Describing her work on the occasion of her exhibition <i>A Coin in Nine Hands’ Part 5 (Carapaces)</i> at Large Glass, London in 2018, in which this work was included, she wrote: ‘In these new works … I want to mimic a geological process that happens on a massively non-human scale using industrial processes (pleating, printing) that are usually used to make clothing and that operate on a human scale. This is a deliberately outrageous conflation of scales and kinds of body.’ (Alice Channer, unpublished exhibition text, 2018.) </p>\n<p>In her exhibition at Large Glass in 2018, Channer set herself the question: ‘Can I pleat rocks?’ This interest in transformation and translation was already apparent several years earlier in her exhibition at the South London Gallery in 2012. In a conversation with the artist published at the time, curator Sam Thorne described a series of translations that were visible in the artist’s work, ‘from three dimensions to two; from sculpture to image; from heavy stone to a kind of silk; from floor-based sculpture to hanging pieces.’ (Sam Thorne in South London Gallery 2012, p.47.) <i>Soft Sediment Deformation, Upper Body (quilted gray)</i> incorporates all of the translations described by Thorne: the two-dimensional representation of heavy stone printed onto soft silk, transformed by high pressure and heat into something sculptural yet pliable – ‘quilted granite’. Through the folding and pleating process Channer inverts and complicates these elements, equating the industrial fabric technique with a sculptural one and drawing similarities with the intense natural and geological processes involved in rock formation. </p>\n<p>Channer’s pleated works illustrate her exploration of the relationship between the human body, adornment, materials and sculpture, as well as her long-standing interest in natural and industrial production processes. One of her first pleated sculptures, entitled <i>The New Look </i>2007, was shown as part of the exhibition <i>Strange Solution</i>, in the Art Now programme at Tate Britain, London in 2008. <i>Soft Sediment Deformation, Upper Body (quilted gray)</i> was the first work in which Channer combined printed images with the pleating process. She has also incorporated geological formations into other recent work, including the large-scale projects <i>R o c k f a l l</i>, commissioned by Aspen Art Museum in 2015, and <i>Burial</i> 2016.</p>\n<p>\n<b>Further reading</b>\n<br/>Katharine Stout, <i>Strange Solution, Art Now</i>, 2 February–13 April 2008, Tate Britain display leaflet, unpaginated.<br/>Chris Fite-Wassilak, <i>Quiet Revolution</i>, exhibition catalogue, Hayward Touring, London 2009.<br/>Sam Thorne, ‘Alice Channer in Conversation with Sam Thorne’, in <i>Breathing</i>, exhibition catalogue, South London Gallery, London, 2 March–13 May 2012.</p>\n<p>Hattie Spires<br/>June 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This work depicts a geological formation and is printed on silk. The fabric has been pleated, giving the work the texture of fish scales and producing a pixelated effect. The work draws parallels between the man-made and natural worlds. The artist wrote: ‘I want to mimic a geological process that happens on a massively non-human scale using industrial processes (pleating, printing) that are usually used to make clothing and that operate on a human scale. This is a deliberately outrageous conflation of scales and kinds of body.’</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2019-05-08T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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[ { "append_role_to_name": false, "date": "1910–1996", "fc": "Emily Kam Kngwarray", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/emily-kam-kngwarray-28210" } ]

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[ { "artistRoomsTour": false, "dateText": "7 June 2021 – 14 May 2023", "endDate": "2023-05-14", "exhibitionLegs": [ { "dateText": "7 June 2021", "endDate": null, "id": 14379, "startDate": "2021-06-07", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11857, "startDate": "2021-06-07", "title": "A Year in Art - Australia 1992", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Untitled (Alhalkere) </i>1989 is an acrylic painting on linen which features small dots in ochre, red-brown and white that cover the entire surface. Kngwarreye began to paint with acrylic in late 1988, when she was already in her seventies, and this work is one of her earliest paintings on linen; between 1988 and her death in 1996 she created over 3,000 paintings. Prior to this she made batik-based fabric works, starting in 1977 when a workshop was set up as part of women’s adult education courses in her native community in the Alhalkere land of the Utopia region, 270 kilometres north-east of Alice Springs, in the Northern Territory of Australia. </p>\n<p>Kngwarreye’s paintings are formally abstract, consisting of dots, lines or coloured fields. Her work was inspired by her cultural life as an Anmatyerre elder, and her lifelong custodianship of the women’s Dreaming sites in her clan country of Alhalkere. Seemingly abstract dots and lines in her work often resemble the vegetation, animals and landscape of the country as well as her ancestral stories. As with other contemporary Aboriginal art in Australia, Kngwarreye’s work is closely connected with contemporary issues surrounding identity and land right within a post-colonial condition, while also sharing formal affinities with abstract modern art movements.</p>\n<p>In paintings such as <i>Untitled (Alhalkere)</i>, Kngwarreye painted on unstretched linen laid flat on the ground, in a similar manner that she would also make traditional sand paintings for women’s ceremonies in her community. The location of Alhalkere, also known as ‘Alalgura’, is central in Kngwarreye’s imagery. The ‘dots within dots’ style is characteristic of her work, representing plant seeds that are native to her land, while also seemingly abstract. This is also seen in two other paintings, also in Tate’s collection, <i>Endunga</i> 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kngwarray-endunga-t15134\" title=\"View the details of this artwork\"><span>T15134</span></a>) and <i>Untitled</i> 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kngwarray-untitled-t15135\" title=\"View the details of this artwork\"><span>T15135</span></a>). The artist also chose colours that stem from nature and her community surroundings, often chiming with the seasons. Dots are widely used in Australian aboriginal art, in particular by artists in Papanya Tula, an area in the Western Desert, but Kngwarreye’s dot paintings such as this one are distinctive in their non-figurative composition and lack of direct connection to the creation stories or ‘Dreamings’ commonly found in aboriginal art. The four edges of the painting, where they wrap round the stretcher, are painted in short brown and black stripes that are similar to the body-painting lines used in Anmatyerre women’s ceremonies, in which Kngwarreye was a key elder. They also often indicate rivers and the terrain of the community’s landscape.</p>\n<p>A closer examination of the Alhalkere landscape reveals that Kngwarreye’s paintings are surprisingly accurate depictions of actual surroundings, originating in her deep understanding of the land as a complex link between places and people that contains traces and memories of the past, present and even future, a unique notion of time that indigenous people describe as ‘everywhen’. Her works are therefore simultaneously abstract and representational. In a rare interview in 1990 with Rodney Gooch, a long-time manager of Central Australian Aboriginal Media Association (CAAMA) that facilitated the sales of artworks from the Utopia including hers, Kngwarreye talked about her imagery: ‘Whole lot, that’s whole lot, Awelye (my Dreaming), Arlatyeye (pencil yam), Arkerrthe (mountain devil lizard), Ntange (grass seed), Tingu (Dreamtime pup), Ankerre (emu), Intekwe (favourite food of emus, a small plant), Atnwerle (green bean), and Kame (yam seed). That’s what I paint, whole lot.’ (Translated by Kathleen Petyarre, in M. Boutler 1991, p.61.) In other words, rather than being descriptive of elements of a landscape, her paintings could be understood as encapsulating a totality of the conditions of her identity and life. Throughout her prolific artistic career, Kngwarreye continued to document and interact with her land, and played a seminal role in preserving its integrity in accordance with her ancestral journeys.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Margo Neale, Emily Kame Kngwarreye: Alhalkere: Paintings from Utopia</i>, exhibition catalogue, Queensland Art Gallery, Brisbane 1998.<br/>Michael Boulter, <i>The Art of Utopia: A New Direction in Contemporary Aboriginal Art</i>, Sydney 1991.</p>\n<p>Sook-Kyung Lee<br/>September 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Kngwarreye was an Anmatyerre Elder. Her artwork focuses on the area where she lived - Alhalkere country, in the Utopia region of the Northern Territory. The dots and lines in her work often represent the vegetation, animals and landscape of the country, and relate to the Anmatyerre Creation Stories. <i>Untitled (Alhalkere)</i> is one of Kngwarreye’s earliest works using acrylic paint on canvas. She began painting with acrylic in late 1988, when she was already in her seventies. She had previously worked in batik, which is a wax-resist dyeing method originating in Indonesia.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2021-07-09T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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[ { "append_role_to_name": false, "date": "1910–1996", "fc": "Emily Kam Kngwarray", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/emily-kam-kngwarray-28210" } ]

[ { "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": "7 June 2021 – 14 May 2023", "endDate": "2023-05-14", "exhibitionLegs": [ { "dateText": "7 June 2021", "endDate": null, "id": 14379, "startDate": "2021-06-07", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11857, "startDate": "2021-06-07", "title": "A Year in Art - Australia 1992", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Endunga</i> 1990 is an acrylic painting on linen in which the entire surface is covered with a dense agglomeration of dots in cream, brown green and pale orange tones, laid over a more linear underlayer or foundation. Kngwarreye began to paint with acrylic in late 1988, when she was already in her seventies, and created over 3,000 paintings between then and her death in 1996. Prior to this she made batik-based fabric works, starting in 1977 when a workshop was set up as part of women’s adult education courses in her native community in the Alhalkere land of the Utopia region, 270 kilometres north-east of Alice Springs, in the Northern Territory of Australia. As with Kngwarreye’s earlier batik works, in <i>Endunga</i> the underlying lines resemble plants, branches or veins, but they are mostly obscured by small dots, creating a pictorial field akin to that seen in European pointillist paintings. As the title suggests, the painting derives from the fruit, seeds and reedy strands of native ‘endunga’ grass in Alhalkere. The canvas edges are also painted in short brown, black and pale pink stripes which are similar to the body-painting lines used in Anmatyerre women’s ceremonies, in which Kngwarreye was a key elder. They also often indicate rivers and the terrain of the community’s landscape.</p>\n<p>Kngwarreye’s paintings are formally abstract, consisting of dots, lines or coloured fields. Her work was inspired by her cultural life as an Anmatyerre elder, and her lifelong custodianship of the women’s Dreaming sites in her clan country of Alhalkere. As with other contemporary Aboriginal art in Australia, Kngwarreye’s work is closely connected with contemporary issues surrounding identity and land right within a post-colonial condition, while also sharing formal affinities with abstract modern art movements.</p>\n<p>In paintings such as <i>Endunga</i>, Kngwarreye painted on unstretched linen laid flat on the ground, in a similar manner that she would also make traditional sand paintings for women’s ceremonies in her community. The location of Alhalkere, also known as ‘Alalgura’, is central in Kngwarreye’s imagery. The ‘dots within dots’ style is characteristic of her work, representing the plant seeds that are native to her land, while also seemingly abstract. This is also seen in two other paintings, also in Tate’s collection, <i>Untitled (Alhalkere)</i> 1989 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kngwarray-untitled-alhalkere-t15133\" title=\"View the details of this artwork\"><span>T15133</span></a>) and <i>Untitled</i> 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kngwarray-untitled-t15135\" title=\"View the details of this artwork\"><span>T15135</span></a>). The artist also chose colours that stem from nature and her community surroundings, often chiming with the seasons. Dots are widely used in Australian aboriginal art, in particular by artists in Papanya Tula, an area in the Western Desert, but Kngwarreye’s dot paintings such as this one are distinctive in their non-figurative composition and lack of direct connection to the creation stories or ‘Dreamings’ commonly found in aboriginal art. </p>\n<p>A closer examination of the Alhalkere landscape reveals that Kngwarreye’s paintings are surprisingly accurate depictions of actual surroundings, originating in her deep understanding of the land as a complex link between places and people that contains traces and memories of the past, present and even future, a unique notion of time that indigenous people describe as ‘everywhen’. Her works are therefore simultaneously abstract and representational. In a rare interview in 1990 with Rodney Gooch, a long-time manager of Central Australian Aboriginal Media Association (CAAMA) that facilitated the sales of artworks from the Utopia including hers, Kngwarreye talked about her imagery: ‘Whole lot, that’s whole lot, Awelye (my Dreaming), Arlatyeye (pencil yam), Arkerrthe (mountain devil lizard), Ntange (grass seed), Tingu (Dreamtime pup), Ankerre (emu), Intekwe (favourite food of emus, a small plant), Atnwerle (green bean), and Kame (yam seed). That’s what I paint, whole lot.’ (Translated by Kathleen Petyarre, in M. Boutler 1991, p.61.) In other words, rather than being descriptive of elements of a landscape, her paintings could be understood as encapsulating a totality of the conditions of her identity and life. Throughout her prolific artistic career, Kngwarreye continued to document and interact with her land, and played a seminal role in preserving its integrity in accordance with her ancestral journeys.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Margo Neale, Emily Kame Kngwarreye: Alhalkere: Paintings from Utopia</i>, exhibition catalogue, Queensland Art Gallery, Brisbane 1998.<br/>Michael Boulter, <i>The Art of Utopia: A New Direction in Contemporary Aboriginal Art</i>, Sydney 1991.</p>\n<p>Sook-Kyung Lee<br/>September 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Kngwarreye’s paintings represent Alhalkere country, where she lived and was a custodian of the land. Her depiction of the physical landscape, including the soil and the air above it, is interwoven with her knowledge of Alhalkere and Anmatyerre Creation Stories. Endunga is a type of grass, whose fruit seeds and reedy strands are evoked here by an underlayer of cream, khaki, and orange dots. Along the edges of this canvas and <i>Untitled (Alhalkere)</i> are short stripes. These are similar to the body-painting lines used in awelye (Anmatyerre women’s ceremonies) and may indicate rivers and other geographical features.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2021-07-09T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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[ { "append_role_to_name": false, "date": "1910–1996", "fc": "Emily Kam Kngwarray", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/emily-kam-kngwarray-28210" } ]

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[ { "artistRoomsTour": false, "dateText": "7 June 2021 – 14 May 2023", "endDate": "2023-05-14", "exhibitionLegs": [ { "dateText": "7 June 2021", "endDate": null, "id": 14379, "startDate": "2021-06-07", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11857, "startDate": "2021-06-07", "title": "A Year in Art - Australia 1992", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Untitled</i> 1990 is an acrylic painting on linen that consists of mostly white linear structures and white, red and blue dots on a blue-grey background. These dots are comparatively large and less densely painted than in some of Kngwarreye’s other paintings, such as <i>Untitled (Alhalkere)</i> 1989 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kngwarray-untitled-alhalkere-t15133\" title=\"View the details of this artwork\"><span>T15133</span></a>) and <i>Endunga</i> 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/kngwarray-endunga-t15134\" title=\"View the details of this artwork\"><span>T15134</span></a>). The linear element is also more prominent in this work, pre-empting the artist’s later paintings that consisted of bold horizontal and vertical stripes rather than dots. These lines are based on natural elements from the artist’s native landscape in Australia, including the lines of plants and trees, but also underground yam roots and emu tracks that are not always so clearly visible. </p>\n<p>Kngwarreye began to paint with acrylic in late 1988, when she was already in her seventies, and between then and her death in 1996 she created over 3,000 paintings. Prior to this she made batik-based fabric works, starting in 1977 when a workshop was set up as part of women’s adult education courses in her native community in the Alhalkere land of the Utopia region, 270 kilometres north-east of Alice Springs, in the Northern Territory of Australia. Kngwarreye’s paintings are formally abstract, consisting of dots, lines or coloured fields. Her work was inspired by her cultural life as an Anmatyerre elder, and her lifelong custodianship of the women’s Dreaming sites in her clan country of Alhalkere. Seemingly abstract dots and lines in her work often resemble the vegetation, animals and landscape of the country as well as her ancestral stories. As with other contemporary Aboriginal art in Australia, Kngwarreye’s work is closely connected with contemporary issues surrounding identity and land right within a post-colonial condition, while also sharing formal affinities with abstract modern art movements.</p>\n<p>In paintings such as <i>Untitled </i>1990, Kngwarreye painted on unstretched linen laid flat on the ground, in a similar manner that she would also make traditional sand paintings for women’s ceremonies in her community. The location of Alhalkere, also known as ‘Alalgura’, is central in Kngwarreye’s imagery. The ‘dots within dots’ style is characteristic of her work, representing plant seeds that are native to her land, while also seemingly abstract. The artist also chose colours that stem from nature and her community surroundings, often chiming with the seasons. Dots are widely used in Australian aboriginal art, in particular by artists in Papanya Tula, an area in the Western Desert, but Kngwarreye’s dot paintings such as this one are distinctive in their non-figurative composition and lack of direct connection to the creation stories or ‘Dreamings’ commonly found in aboriginal art. The four edges of the painting, where they wrap round the stretcher, are painted in short brown and black stripes that are similar to the body-painting lines used in Anmatyerre women’s ceremonies, in which Kngwarreye was a key elder. They also often indicate rivers and the terrain of the community’s landscape.</p>\n<p>A closer examination of the Alhalkere landscape reveals that Kngwarreye’s paintings are surprisingly accurate depictions of actual surroundings, originating in her deep understanding of the land as a complex link between places and people that contains traces and memories of the past, present and even future, a unique notion of time that indigenous people describe as ‘everywhen’. Her works are therefore simultaneously abstract and representational. In a rare interview in 1990 with Rodney Gooch, a long-time manager of Central Australian Aboriginal Media Association (CAAMA) that facilitated the sales of artworks from the Utopia including hers, Kngwarreye talked about her imagery: ‘Whole lot, that’s whole lot, Awelye (my Dreaming), Arlatyeye (pencil yam), Arkerrthe (mountain devil lizard), Ntange (grass seed), Tingu (Dreamtime pup), Ankerre (emu), Intekwe (favourite food of emus, a small plant), Atnwerle (green bean), and Kame (yam seed). That’s what I paint, whole lot.’ (Translated by Kathleen Petyarre, in M. Boutler 1991, p.61.) In other words, rather than being descriptive of elements of a landscape, her paintings could be understood as encapsulating a totality of the conditions of her identity and life. Throughout her prolific artistic career, Kngwarreye continued to document and interact with her land, and played a seminal role in preserving its integrity in accordance with her ancestral journeys.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Margo Neale, Emily Kame Kngwarreye: Alhalkere: Paintings from Utopia</i>, exhibition catalogue, Queensland Art Gallery, Brisbane 1998.<br/>Michael Boulter, <i>The Art of Utopia: A New Direction in Contemporary Aboriginal Art</i>, Sydney 1991.</p>\n<p>Sook-Kyung Lee<br/>September 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>The dots in this painting are larger and less densely spread than in many of Kngwarreye’s works from this period. She developed a more prominent linear style in her later artworks. These linear patterns can indicate lines of plants and trees, but also less identifiable features such as underground yam roots and emu tracks. Like maps, they reveal the connection between places, people and all things. As an Anmatyerre Elder, Kngwarreye’s paintings depict her deep understanding of the land, and its traces and memories of the past, present and future.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2021-07-09T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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[ { "append_role_to_name": false, "date": "born 1983", "fc": "Salman Toor", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/salman-toor-27622" } ]

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[ { "artistRoomsTour": false, "dateText": "14 June 2023 – 28 April 2024", "endDate": "2024-04-28", "exhibitionLegs": [ { "dateText": "14 June 2023 – 28 April 2024", "endDate": "2024-04-28", "id": 13350, "startDate": "2023-06-14", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 10994, "startDate": "2023-06-14", "title": "The Yageo Exhibition: Capturing the Moment", "type": "Exhibition" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Salman Toor’s large-scale oil painting <i>9pm, The News</i> 2015 depicts a family sitting around the dining table following their evening meal. The scene focuses on the silent exchange between the two male protagonists, the patriarch, seated at the head of the table smoking a cigarette, and the son who sits in the nude, vulnerable to the external influences of the media, class and religion that have congregated behind him. A television screen showing the nine o’clock news, as the title indicates, looms over the son’s shoulder amidst comic-book style ‘flash’ signs, empty speech bubbles and splashes of black oil. The figure of the family’s disregarded servant and the towering minarets of a mosque dominate the background. The other members of the family sit oblivious to these invasions, including the female figure at the left of the scene, also presented nude perhaps to indicate her congruent vulnerability. Toor has described the work as a ‘queer self/family portrait in a conservative Islamic context’ (unpublished artist’s statement for Aicon Gallery, New York, October 2015). He has explained that he considers the anonymous figures in the background and to the right side of the scene as ‘ghosts’ of his native Pakistani culture: ‘I see these “ghosts” as agents of change and enablers of a reinvention of self and belonging. They are imagined ancestors and actors in a fractured, nonlinear history in which an imagined past is present now, a past that is both disruptor and enabler.’ (Quoted in <i>artnet </i>2015, accessed 28 March 2018.)</p>\n<p>Born in Lahore, Pakistan, and now living and working in New York City, Toor’s work often takes influence from his own biography considering his position as a queer Asian man. In previous works such as <i>Paradise Villas</i> 2011 and <i>The Happy Servant</i> 2013, he has produced a sharp critique of the Pakistani elite he encounters in Lahore. His work presents a fresh and intersectional view of a more complex identity than being simply Pakistani or Muslim or a male immigrant in the United States. Toor has explained: ‘For me painting is a process of self-definition, as an outsider in multiple worlds which become more and more entangled and complex.’ (Quoted in Aicon Gallery 2015, p.4.)</p>\n<p>\n<i>9pm, The News</i> is part of a larger series of paintings first shown together at Aicon Gallery, New York in 2015, under the title <i>Resident Alien</i>. The series includes a number of paintings of news broadcasts, with the presenters as announcers of international threats and new conflicts. Splatters of black oil are another motif that recurs throughout the series, representing ideas of guilt and shame at the embrace of new liberal identities, perceived as a rejection of ancestral values. In this painting, they hover around the figure of the son and form a puddle on the table. Toor depicts a psychological space within a world in which personal anxieties intersect with global concerns. Painting intuitively and from memory, his compositions and figures evolve as he paints. He adopts a range of styles from popular culture and art history, from the realism of Old Master painting to contemporary abstraction to the multiple viewpoints used to depict narrative in Persian and Indian miniature painting. <i>9pm, The News</i> was included in the Kochi-Muziris Biennale in 2016 alongside an installation titled <i>The</i> <i>Revelation Project </i>2016, a work which considers the place of an immigrant caught between cultures, made in collaboration with the Pakistani poet Hasan Mujtaba, who also now resides in New York. </p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Salman Toor: Resident Alien</i>, exhibition catalogue, Aicon Gallery, New York, 2015.<br/>Unauthored interview, ‘Salman Toor, Painter of Modern Life’, <i>artnet</i>, <a href=\"https://news.artnet.com/market/salman-toor-interview-370421\">https://news.artnet.com/market/salman-toor-interview-370421</a>, 1 December 2015, accessed 28 March 2018.<br/>‘Salman Toor and Hasan Mujtaba’, in Andreas Koller (ed.), <i>Forming in the Pupil of an Eye</i>, exhibition catalogue, Kochi-Muziris Biennale 2016, Kochi Biennale Foundation, Fort Kochi, India, pp.353–5.</p>\n<p>Priyesh Mistry<br/>April 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-30T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1937–2008", "fc": "Minoru Onoda", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/minoru-onoda-28198" } ]

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[ { "artistRoomsTour": false, "dateText": "30 November 2020 – 2 March 2025", "endDate": "2025-03-02", "exhibitionLegs": [ { "dateText": "30 November 2020 – 4 July 2021", "endDate": "2021-07-04", "id": 14387, "startDate": "2020-11-30", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11866, "startDate": "2020-11-30", "title": "Gutai", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>WORK62-W</i> 1962 is a painting that is emblematic of Onoda’s practice from the early to mid-1960s. Representing the period before he officially joined the Japanese Gutai Art Association in 1965, the work has a dominant yellow background onto which lines and dots of various colours and sizes are hand-painted in radial and linear patterns. The variation in size and gradation of colour of the dots creates a sense of perspective and movement in the composition, resulting in a hypnotic optical effect. Moreover, the surface of the painting has been built up using glue and traditional Japanese <i>gofun </i>– a mouldable Calcium carbonate paste made from pulverised oyster and clam shells. This process results in bas-relief mounds or bulges on the plywood surface creating an undulating topography. Working on the painting on a flat surface, Onoda applied the gofun in layers. Then, working from all angles, he started from the centre of the painting to apply the painted dots following the shape of the gofun relief.</p>\n<p>Representative of the style that Onoda developed after publishing the text ‘A Theory of Propagation Painting’ in December 1961, this work and his other ‘propagation paintings’ may be read as a critique of action painting. For Onoda the proliferation of dots or <i>maru </i>– ‘my circles’ – was a means to negate the subjectivity and materialism of action-based painting, as exemplified by <i>art informel</i>. He wrote: </p>\n<p class=\"cttext\">\n</p><blockquote>I was enchanted by the image of an infinite number of identical elements (whether objects or signs) proliferating mechanically … To objectify these images, I opted for an infinite number of circles and lines. In the past, I referred to these as ‘my circles’, and altered their size according to a linear trajectory based on perspective. The pictures can be viewed in any way, and ‘my circles’ can be extended outward from any part of the picture. In addition to obvious things like walls and ceilings, it is easy to paint them on roads and automobiles, and I can turn anything into a work by simply painting a large number of circles on it. Hence, the term ‘propagation painting … I dream that ‘my circles’ will completely cover the sky and the earth without so much as a gap.<br/>(Minoru Onoda, ‘A Theory of Propagation Painting’, Himeji bijitsu, Japan, December 1961.)</blockquote>\n<p>In developing this distinctive visual language, Onoda was also interested in responding to the industrialisation of Japan and the mass accumulation of industrial materials in cities like Himeji where he lived. In earlier works he had incorporated thinly cut PVC tubes into the surface of his pictures, which then led him to using hand-painted dots and circles. He was keen on representing and responding to the mass production and consumption in Japanese society. Historian Edward Gomez has elaborated: </p>\n<p class=\"cttext\">\n</p><blockquote>[Onoda] expressed his admiration for industrially manufactured plastic pipes, vacuum tubes, and other mass-produced items that flowed out of Japanese factories ‘in endless quantities’ during the postwar reconstruction period. Onoda wrote that such mass-produced industrial parts could be appreciated as objects of ‘wonder’. Impressed by what he called the ‘vast meaninglessness’ of such machine-made, identically duplicated objects, he found inspiration in the infinite repetition or reproduction of the same forms.<br/>(Edward M. Gómez, ‘In Onoda Minoru’s Sketchbooks, the Roots of a Singular Style’, forthcoming publication.)</blockquote>\n<p>Onoda would make works similar to <i>WORK62-W</i> until the mid-1960s. His visual language would shift thereafter to more symmetrical and concentric compositions, abandoning the characteristic yellow background for vibrant pinks, greens and blues. After Gutai disbanded in 1972, the proliferating dots disappeared entirely. <i>WORK62-W</i> represents a critical period in Onoda’s career, as he was actively responding to and working against the directions that Gutai was exploring in the 1960s.</p>\n<p>\n<b>Further reading</b>\n<br/>Ming Tiampo and Alexandra Munroe, <i>Gutai: Splendid Playground</i>, exhibition catalogue, Solomon R. Guggenheim Museum, New York 2013.<br/>Koichi Kawasaki, <i>Maru, By Gutai Member Minoru Onoda</i>, exhibition brochure, Anne Mosseri-Marlio Galerie, Basel 2017.</p>\n<p>Clara Kim<br/>August 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-10-20T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Onoda Minoru was part of the second generation of Gutai artists. He began making paintings using dots of various sizes and colours in 1961. Onoda described these as ‘propagation paintings’. For him, the systematic repetition of dots was a way to think mechanically. Through this technique, he hoped to counter the subjectivity of action-based painting. Onoda was also responding to the industrialisation of Japan during the post-war period. He found inspiration in the ‘vast meaninglessness’ of machine-made, identically duplicated objects.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2020-12-04T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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[ { "append_role_to_name": false, "date": "born 1965", "fc": "Nicole Eisenman", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/nicole-eisenman-27614" } ]

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[ { "artistRoomsTour": false, "dateText": "22 March 2023 – 8 January 2024", "endDate": "2024-01-08", "exhibitionLegs": [ { "dateText": "22 March 2023 – 10 September 2023", "endDate": "2023-09-10", "id": 15068, "startDate": "2023-03-22", "venueName": "Museum Brandhorst (Munich, Germany)", "venueWebsiteUrl": null }, { "dateText": "4 October 2023 – 8 January 2024", "endDate": "2024-01-08", "id": 15069, "startDate": "2023-10-04", "venueName": "Whitechapel Gallery (London, UK)", "venueWebsiteUrl": "http://www.whitechapel.org/" } ], "id": 12387, "startDate": "2023-03-22", "title": "Nicole Eisenman", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>The Darkward Trail</i> 2018 is a large painting on canvas by the American artist Nicole Eisenman, measuring over three metres by two and a half metres. It shows three characters in a desert facing left, as if in the midst of a journey. The tallest figure appears on the right side of the painting. Dressed in what appears like a patchwork of pale yellow bandages, the man’s skin is a corpse-like blue-grey; Eisenman rhymes the skin with the dense ray of blue that emerges from the torch held in his outstretched arm and that seems to darken rather than illuminate his way, as hinted at by the title of the work. To the character’s immediate left, though somewhat further back in the landscape, a second male figure rides a small ass. His obesity contrasts with the first man’s emaciated appearance; he appears at least as heavy as the creature below him. His back is arched and his arms are tucked into his striped shorts. On the left of the image, a third figure is directing a drone. The drone flies right above his head and its eye meets the single eye protruding from his skull. The landscape that these characters inhabit is sparse and resembles a wasteland after a chemical disaster. The sky is yellow, with clouds on the horizon; the desert floor is empty but for a dead spindly tree and a small cactus. A tiny sun glows above.</p>\n<p>The painting brings together images and ideas that have appeared in the artist’s earlier works. Overall, the processional composition recalls <i>The Triumph of Poverty</i> 2009, a painting made in the wake of the global recession of 2008, which quotes the sixteenth-century Dutch painter Pieter Bruegel the Elder’s <i>The Blind Leading the Blind </i>1568 (Museo Nazionale di Capodimonte, Naples). The figure with the drone is a development from the painting <i>Selfie</i> 2014, which shows a bearded head holding a phone above his face so that his eye is mirrored in its screen. Eisenman has drawn from the New York School painter Philip Guston’s (1913–1980) work to create the characters in <i>Selfie</i> and the drone-man in <i>The Darkward Trail</i>, in particular Guston’s unmasked heads from 1973, such as the one in <i>Painting, Smoking, Eating</i> 1973 (Stedelijk Museum, Amsterdam). Eisenman first painted a figure holding a darkness-emitting torch in <i>Dark Light</i> 2017, the immediate precursor to <i>The Darkward Trail</i>. It is significant that the man with the torch in <i>Dark Light</i> was wearing a red baseball cap: this was the emblem of Donald Trump’s US Presidential campaign of 2016, when red caps were emblazoned with the motto ‘Make America Great Again’.</p>\n<p>Indeed Trump’s America is the implied subject of <i>The Darkward Trail</i>. The picture was painted in Brooklyn, New York in late 2017 and early 2018 alongside another painting of the same size, <i>Huddle</i>, which overtly depicts Trump and a number of businessmen staring at a mound of sewage on top of Trump Tower in midtown New York. In <i>The Darkward Trail</i> Eisenman takes a more allegorical approach, creating a scene whose setting and characters cannot be identified as real-world people, but which nonetheless expresses the artist’s disgust at America’s conservative turn. The characters cross a toxic landscape, spreading darkness and crushing nature (the burdened ass). In the figure operating the drone, a machine developed for warfare is turned it into a toy to satisfy the user’s narcissistic impulse. While it is impossible to tell the figures’ intent, they appear ghoulish, uncouth and monstrous, perhaps loyal only to their own desires, and to their Commander in Chief. </p>\n<p>\n<b>Further reading</b>\n<br/>Amy Sillman, ‘How to Look at Nicole Eisenman’, in <i>Nicole Eisenman: Selected Works 1994–2004</i>, Cologne 2008, pp.7–10.<br/>Samantha Topol (ed.), <i>Dear Nemesis, Nicole Eisenman 1993–2013</i>, exhibition catalogue, Institute of Contemporary Art, Philadelphia 2014.<br/>Massimiliano Gioni,(ed.), <i>Nicole Eisenman: Al-ugh</i>-<i>ories</i>, exhibition catalogue, New Museum, New York 2016.</p>\n<p>Mark Godfrey<br/>May 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\"></div>\n", "display_name": "Display caption", "publication_date": "2021-06-14T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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[ { "append_role_to_name": false, "date": "1992–2017", "fc": "Khadija Saye", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/khadija-saye-26652" } ]

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[ { "artistRoomsTour": false, "dateText": "6 July 2023 – 14 January 2024", "endDate": "2024-01-14", "exhibitionLegs": [ { "dateText": "6 July 2023 – 14 January 2024", "endDate": "2024-01-14", "id": 15104, "startDate": "2023-07-06", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 12411, "startDate": "2023-07-06", "title": "A World in Common: Contemporary African Photography", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "4 March 2024 – 15 May 2025", "endDate": "2025-05-15", "exhibitionLegs": [ { "dateText": "4 March 2024 – 25 August 2024", "endDate": "2024-08-25", "id": 15886, "startDate": "2024-03-04", "venueName": "Wereldmuseum Rotterdam (Rotterdam, The Netherlands)", "venueWebsiteUrl": null }, { "dateText": "2 February 2025 – 15 May 2025", "endDate": "2025-05-15", "id": 16296, "startDate": "2025-02-02", "venueName": "C/O Berlin (Berlin, Germany)", "venueWebsiteUrl": null } ], "id": 13029, "startDate": "2024-03-04", "title": "A World in Common: Contemporary African Photography", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "6 September 2025 – 10 May 2026", "endDate": "2026-05-10", "exhibitionLegs": [ { "dateText": "6 September 2025 – 10 May 2026", "endDate": "2026-05-10", "id": 16207, "startDate": "2025-09-06", "venueName": "V&A East Museum (London, UK)", "venueWebsiteUrl": null } ], "id": 13289, "startDate": "2025-09-06", "title": "The Music is Black: A British Story", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Nak Bejjen is a photograph from Khadija Saye’s series Dwelling: in this space we breathe 2017. Originally numbering somewhere between twenty and thirty wet plate collodion tintype photographs, only six works from the series remain, the large part having been destroyed in a fire in which the artist also lost her life. The works were executed with the assistance of artist Almudena Romero and depict Saye as the subject of a series of portraits in which she enacts invented rituals using sacred objects from her parents’ country of origin, Gambia.</p>\n<p>In this particular tintype, Saye is shown in black and white, as is typical of the wet collodion process. She is seated, side on to the viewer, wearing an outfit made from a dark fabric with a head covering in a slightly lighter fabric bound around her head. Her head is bowed, as if in prayer and someone stands behind her, mostly outside the frame. This person’s outstretched arm, covered in a white knitted sleeve, reaches into the frame, holding a horn-like object to the nape of Saye’s neck. The title, Nak Bejjen, means cow horn. Plumes of what look like smoke appear to be coming from the top of this horn-like object, but the exact nature of this invented ritual remains ambiguous. Considering the volatility of the wet plate collodion tintype medium, which is easily affected by elements outside the artist’s control, these forms may be an unplanned result of the printing process to which Saye surrendered, as if to a higher power.</p>\n<p>Having been brought up in a dual faith household with a Muslim father and Christian mother, Saye was well attuned to questions of identity and, particularly, to the role which faith plays in determining that identity. At sixteen she was awarded a full scholarship to study at the prestigious Rugby School in Warwickshire, the new world of privilege into which she was thrust providing a stark contrast to the area of Ladbroke Grove in west London where she was raised. In a BBC documentary in 2017, Saye discussed the fact that during her time at Rugby her sense of ‘otherness’ heightened and described the feeling of being an outsider looking in on a world of opulence and opportunity.</p>\n<p>After graduating from her degree, her work revolved around portraiture and the interrogation of identity. In 2016 she visited Gambia and photographed family members and friends for a series entitled Home. Coming. This interest in Gambian culture and ritual fed into the series of work that would become Dwelling: in this space we breathe. The series was shown in the Diaspora Pavilion at the Venice Biennale in 2017 and explores what the catalogue for that exhibition describes as ‘the migration of traditional Gambian spiritual practices and the deep rooted urge to find solace within a higher power’ (Venice Biennale 2017, p.42, online at <a href=\"https://abe6925c50.site.internapcdn.net/wp-content/uploads/2017/05/DP_A5_EXHIBITION_BOOK_FINAL_Web.pdf\">https://abe6925c50.site.internapcdn.net/wp-content/uploads/2017/05/DP_A5_EXHIBITION_BOOK_FINAL_Web.pdf</a>, accessed 16 November 2017). In an Instagram takeover which she undertook for the Metro Imaging account in 2017, Saye discussed how integral faith and religion are to members of the diaspora attempting to establish and maintain connections to the homes which have been left behind.</p>\n<p>Immediately preceding the series, Saye was involved in a personally traumatic episode and the photographs have a suggestion of self-healing; the series depicts imagined rituals but came about through a need for spiritual grounding which Saye was working through. Using herself as the subject enabled Saye to engage deeply and instinctively with the way in which trauma is embodied in the black experience. The work calls into question the processes or objects that we turn to for succour in life’s most challenging moments. The element of healing in these works is present not only in the subject matter, but also in the physical process of image-making, through Saye’s decision to use a nineteenth-century photographic technique, as detailed in the catalogue for the Diaspora Pavilion:</p>\n<p class=\"cttext\">\n</p><blockquote>The journey of making wet plate collodion tintypes is unique; no image can be replicated and the final outcome is beyond the creator’s control. Within this process, you surrender yourself to the unknown, similar to what is required by all spiritual higher powers: surrendering and sacrifice. Each tintype has its own unique story to tell, a metaphor for our individual human spiritual journey. The process of submerging the collodion covered plate into a tank of silver nitrate ignites memories of baptisms, the idea of purity and how we cleanse in order to be spiritually sound. The application of the collodion transcends the photographic process; it is a reflection, a physical manifestation of the artist’s subconscious relationship to traditional African spirituality. The process involved with tintypes addresses the current disposable era where materials are rapidly produced and short lived. We forget to live through the moment, remaining in the silence, and working on our internal connections.</blockquote>\n<blockquote>(Venice Biennale 2017, p.42, accessed 16 November 2017.)</blockquote>\n<p>Further reading<br/>David A. Bailey, Jessica Taylor, Diaspora Pavilion, exhibition catalogue, 57th Venice Biennale 2017.</p>\n<p>Aïcha Mehrez<br/>November 2017, revised October 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-07-13T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>These self-portraits explore traditional spiritual practices as a way of connecting to ancestral homelands. Saye performs a series of rituals using sacred objects that combine her African, Christian and Islamic heritage. In <i>Nak Bejjen</i>, Wolof for cow horn, Saye’s head is bowed in prayer while a figure outside the frame holds a horn-like object to the back of her neck. The image evokes a technique used by Gambian healers to draw impurities from a person’s body. Saye commented that ‘whilst exploring the notions of spirituality and rituals, the process of image making became a ritual in itself’. She used a labour-intensive wet collodion process, which is easily affected by elements outside the artist’s control. Saye explained, ‘within this process, you surrender yourself to the unknown, similar to what is required by all spiritual higher powers: surrendering and sacrifice.’ </p>\n</div>\n", "display_name": "Display caption", "publication_date": "2023-06-30T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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[ { "append_role_to_name": false, "date": "born 1931", "fc": "Bridget Riley", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/bridget-riley-1845" } ]

[ { "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": "19 March 2022 – 13 August 2022", "endDate": "2022-08-13", "exhibitionLegs": [ { "dateText": "19 March 2022 – 13 August 2022", "endDate": "2022-08-13", "id": 14788, "startDate": "2022-03-19", "venueName": "Laing Art Gallery (Newcastle upon Tyne, UK)", "venueWebsiteUrl": "http://www.twmuseums.org.uk/" } ], "id": 12165, "startDate": "2022-03-19", "title": "Liquid Light: Painting in Watercolours", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Gouache</i> 1987 is a small square gouache painting positioned at the centre of a larger white piece of paper. Below the painting are two inscriptions written in grey pencil: at lower left is written ‘June 19’ – giving the exact date in June on which the painting was made – and on the right the artist has signed and dated ‘Bridget Riley 87’.<i> </i>The work<i> </i>has a colour palette dominated by lilac, green, orange and yellow, with lesser amounts of blue, red and pink. Its blocks of flat colour are shaped as truncated diagonals – or, as the artist calls them, ‘zigs’ – in conjunction with vertical bands. The resulting composition creates parallelograms of different sizes and suggests oppositional layers of receding space. This format is representative of a shift in Riley’s way of working that occurred in the spring of 1986. Her introduction of diagonals into her previously dominant arrangements of vertical stripes continued until 1997, in a sequence of works known as the ‘rhomboid paintings’ (see, for example, <i>Nataraja </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/riley-nataraja-t06859\" title=\"View the details of this artwork\"><span>T06859</span></a>, and the screenprint<i> Fête</i> 1989, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/riley-fete-p78333\" title=\"View the details of this artwork\"><span>P78333</span></a>)<i>. </i>In conversation with<i> </i>the art historian Robert Kudielka in 1990,<i> </i>Riley explained: </p>\n<p class=\"cttext\">\n</p><blockquote>I wanted more. A way of working which allowed me to get to grips with plastic issues, to get closer to the real problems of painting. I threw out notions of what the result should be. I crossed the vertical register with a strong diagonal, upsetting the balance of the canvas. That gave me time. I could work against those directional forces, counteracting them through colour and rhythm. <br/>(Quoted in Kudielka 1990, p.138.)</blockquote>\n<p>Discussing these paintings further in 2011, Riley stated that their compositions were intended to be ‘something like a coherent fabric of colour which advances and recedes in planes’. She claimed that this was achieved because the vertical bands are ‘broken by diagonals’ and they therefore ‘assume the potentiality of planes, being separated components which can hold different colours, which in turn can take up different positions in pictorial depth’ (Bridget Riley and Michael Harrison, ‘Bridget Riley in Conversation with Michael Harrison’, in <i>Bridget Riley: Colour, Stripes, Planes and Curves</i>, exhibition catalogue, Kettle’s Yard, Cambridge 2011, pp.12, 16). In other words, by cutting across the vertical bands, the diagonal sections of colour suggest layers of receding space. </p>\n<p>According to former Tate curator Paul Moorhouse, the effect of Riley’s ‘diagonal forces’ is a redefinition of the relationship between the painting and its viewer. He noted that while the space in Riley’s previous works ‘appeared to advance towards the spectator’, the lattice effect of contrasting vertical and diagonal forces instead causes the reverse to happen: ‘A strange ambiguous space is sensed in the opposite direction – opening up depth and drawing the gaze inside the virtual space of the painting. However, this is an unstable, elusive arena in which planes of colour alternatively advance and recede.’ (Moorhouse 2003, p.24)</p>\n<p>\n<b>Further reading</b>\n<br/>Robert Kudielka (ed.),<i> The Eye’s Mind: Bridget Riley Collected Writings 1965–1999</i>,<i> </i>London 1999.<br/>Paul Moorhouse (ed.), <i>Bridget Riley</i>, exhibition catalogue, Tate Britain, London 2003.</p>\n<p>Laura Castagnini<br/>October 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1894 – 1974", "fc": "Valentine Dobrée", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/valentine-dobree-28314" } ]

[ { "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>Composition</i> c.1931 is a still life composed of collaged papers including wallpaper, marbled paper and photographic images, combined with painted areas on board. The objects represented include a vase, a bunch of grapes, playing cards and a guitar. These are constructed from a variety of collaged papers which overlap to create multiple viewpoints of the objects in a cubist manner. The use of photographic images as components of these constructed objects also creates a tension between the original image and its new role in the collage, resembling the juxtaposition of objects to create multiple realities found in surrealist collage. Painted areas also heighten these dislocations of reality. The bunch of grapes is composed of a series of oval forms, cut from contrasting papers and overlapping each other, mounted onto a painted leaf which joins to a branch form cut from a photographic image. The guitar has multiple outlines created by different papers cut to the silhouette of the instrument and overlaid to create different viewpoints. Photographic images form the strings and fretboard of the guitar. These objects are set within a shallow space composed of wallpaper and painted areas to create an environment of geometric constructions with floating cloud-like forms painted in the upper right corner. </p>\n<p>It is likely that <i>Composition </i>was included in Dobrée’s solo exhibition of collages at the Claridge Gallery in London in 1931. She exhibited thirty-four works, many entitled <i>Still Life</i> or <i>Flower Piece</i> (Diaper 2000). The exhibition was reviewed by <i>The Times</i> critic who wrote: ‘Her designs, mostly cut out of patterned wall papers, are definitely and very intelligently “cubist” … the chief attraction is in colour, Mrs Dobrée producing enchanting effects in schemes of grey-blue and buff. There is a lively invention in the designs, and they are carried out with the most subtle logic in tone relation and a happy use of textures.’ (<i>The Times</i>, 9 December 1931, p.15.) After the 1930s Dobrée turned to painting mythological subjects with surrealist undertones. She returned to collage in the 1960s when she was in poor health, using it to collect ideas for future paintings. In these works of the 1960s paper was used as a visual equivalent for paint in contrast to her juxtaposition of different collaged elements to construct multiple realities in the 1930s. </p>\n<p>In these earlier works Dobrée was using collage at a moment when cubism continued to influence the paintings of British artists such as Paul Nash (1889–1946) and Ben Nicholson (1894–1982), and when British artists such as Eileen Agar (18991991), Edward Burra (1905–1976), Paul Nash and Roland Penrose (1900–1984) were working with found objects and using collage to explore surrealist ideas. In the introduction to her exhibition at the Institute of Contemporary Arts Library in London in 1963, Dobrée outlined her ideas about the relationship of the found object to the perception of form:</p>\n<p class=\"cttext\">\n</p><blockquote>There is a place in our lives for small pictures; just as the ‘found object’ held in one’s hand gives a special perception of form, so a small picture can respond to a mood or a phase … The fragments lie around us, and to the awakened eye the finds of the scientist (translated into visual symbols and diagrams), the deep-sea diver, the aeronaut, are endless adventure Not forgetting the weather-worn wall, the sea-wrought pebble, the neglected hoarding, the dust at our feet … Looked at in stillness hidden forms take shape; and forms, like words, have their references, haunted by experience, extending into a half-conscious dream world. <br/>(Dobrée 1963, n.p.)</blockquote>\n<p>\n<b>Further reading</b>\n<br/>Valentine Dobrée., ‘A Letter’, in <i>Valentine Dobrée</i>, exhibition catalogue, Institute of Contemporary Arts Library, London, 8 May–1 June 1963.<br/>Hilary Diaper, <i>Valentine Dobrée, </i>exhibition catalogue, University Gallery Leeds 2000, reproduced, unpaginated.</p>\n<p>Emma Chambers<br/>September 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2020-01-08T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1959", "fc": "Claudette Johnson MBE", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/claudette-johnson-mbe-15861" } ]

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

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[ { "artistRoomsTour": false, "dateText": "22 April 2019 – 5 September 2021", "endDate": "2021-09-05", "exhibitionLegs": [ { "dateText": "22 April 2019 – 5 September 2021", "endDate": "2021-09-05", "id": 13018, "startDate": "2019-04-22", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 10720, "startDate": "2019-04-22", "title": "Sixty Years Refresh", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "1 June 2019 – 8 September 2019", "endDate": "2019-09-08", "exhibitionLegs": [ { "dateText": "1 June 2019 – 8 September 2019", "endDate": "2019-09-08", "id": 13152, "startDate": "2019-06-01", "venueName": "Modern Art Oxford (Oxford, UK)", "venueWebsiteUrl": null } ], "id": 10826, "startDate": "2019-06-01", "title": "Claudette Johnson", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "11 October 2021 – 3 April 2023", "endDate": "2023-04-03", "exhibitionLegs": [ { "dateText": "11 October 2021 – 3 April 2023", "endDate": "2023-04-03", "id": 14510, "startDate": "2021-10-11", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 11950, "startDate": "2021-10-11", "title": "Sixty Years", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "29 September 2023 – 14 January 2024", "endDate": "2024-01-14", "exhibitionLegs": [ { "dateText": "29 September 2023 – 14 January 2024", "endDate": "2024-01-14", "id": 15450, "startDate": "2023-09-29", "venueName": "The Courtauld Gallery (London, UK)", "venueWebsiteUrl": "http://www.courtauld.ac.uk" } ], "id": 12682, "startDate": "2023-09-29", "title": "Claudette Johnson", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "22 February 2024 – 29 June 2025", "endDate": "2025-06-29", "exhibitionLegs": [ { "dateText": "1 February 2024 – 31 May 2024", "endDate": "2024-05-31", "id": 15087, "startDate": "2024-02-01", "venueName": "National Portrait Gallery (London, UK)", "venueWebsiteUrl": "http://www.npg.org.uk" }, { "dateText": "29 June 2024 – 29 September 2024", "endDate": "2024-09-29", "id": 15868, "startDate": "2024-06-29", "venueName": "The Box (Plymouth, UK)", "venueWebsiteUrl": null }, { "dateText": "10 November 2024 – 9 February 2025", "endDate": "2025-02-09", "id": 15869, "startDate": "2024-11-10", "venueName": "Philadelphia Museum of Art (Philadelphia, USA)", "venueWebsiteUrl": "http://www.philamuseum.org" }, { "dateText": "8 March 2025 – 29 June 2025", "endDate": "2025-06-29", "id": 15870, "startDate": "2025-03-08", "venueName": "North Carolina Museum of Art (Raleigh, USA)", "venueWebsiteUrl": null } ], "id": 12400, "startDate": "2024-02-22", "title": "People of Colour: Black Portraiture Now", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Standing Figure with African Masks</i> 2018 is a monolithic drawing in pastel and gouache on paper of a female figure standing with her hands on her hips and her stomach exposed. Seen from a low viewpoint, she gazes directly down on the viewer, with a bold expression on her face. The figure’s skin and watch are rendered in dense pastel while her clothes – blue jeans, red shirt and black headscarf – are painted with loose brushstrokes of gouache paint with thick white inflections. Although not considered by the artist as a self-portrait,<i> Standing Figure with African Masks </i>is the first recognisable image that British artist Claudette Johnson has made of herself. It was drawn from life in the artist’s studio in East London, using a small mirror placed on a chair. The resulting vertiginous perspective heightens the confident stance held by the central character (indeed, the original title of the work was <i>Brazen Woman).</i> She is set against an abstract background of blue geometric forms outlined with yellow edges and is surrounded by three figures wearing African masks. These figures are rendered sparingly, with geometric lines and thin washes of brown paint, which cause them to recede into the background. They refer to Pablo Picasso’s (1881–1973) groundbreaking painting <i>Les Demoiselles d’Avignon</i> of 1907 (Museum of Modern Art, New York), a painting that holds an important, if complicated, position in Johnson’s imaginary. She has explained:</p>\n<p class=\"cttext\">\n</p><blockquote>I first saw Picasso’s <i>Les Demoiselles D’Avignon</i> (in reproduction) as a second year Fine Art student. I was struck by the rawness of the image, the fractured space, his use of African imagery and the fearlessness of the women. I referred to this work in <i>And I have my own business </i>1982 (Museums Sheffield) in which a nappy headed woman with her arm raised and stomach thrust forward is bisected by a jagged yellow line. In <i>Standing Figure with African Masks</i>, the woman with her belly exposed directs her gaze out of the frame whilst being aware that she must negotiate a relationship with the African masked figures who are moving in from the periphery.<br/>(Email correspondence with Tate curator Laura Castagnini, 6 November 2018.)</blockquote>\n<p>Through her citation of <i>Les Demoiselles d’Avignon</i>, Johnson creates a dialogue with the visual language of African masks as well as their appropriation by modernist Western artists and beyond. <i>Standing Figure with African Masks </i>is a monumental work that pays homage to the affirmative strength of self-representation by Black women in defiance of the colonial gaze. The artist has written: ‘I do believe that the fiction of “blackness” that is the legacy of colonialism can be interrupted by an encounter with the stories that we have to tell about ourselves.’ (In Hollybush Gardens 2016, p.6.)</p>\n<p>Johnson has been making larger than life drawings of Black women since the early 1980s (see also <i>Seated Figure I </i>2017, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/johnson-seated-figure-1-t15262\" title=\"View the details of this artwork\"><span>T15262</span></a>, and <i>Figure in Raw Umber </i>2018, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/johnson-figure-in-raw-umber-t15261\" title=\"View the details of this artwork\"><span>T15261</span></a>). Her figures are monolithic, seemingly to resist their containment within the edges of the paper. She usually works from life onto large sheets of paper taped to the studio wall. She begins with a dry pastel drawing, which she often paints over in sections using blocks of watercolour and gouache paint, before adding a final layer of drawing with pastel. The background, usually comprised of imagined and abstracted geometric forms, is created intuitively after the completion of the figure. The results are richly coloured and sensuous images that convey a sense of urgency in their expressive broken lines and pulsing forms. </p>\n<p>Johnson describes her work as existing outside the realm of portraiture; rather she sees it as creating a ‘presence’ for her subject that resists objectification. She has written:</p>\n<p class=\"cttext\">\n</p><blockquote>I am a Blackwoman and my work is concerned with making images of Blackwomen. Sounds simple enough – but I’m not interested in portraiture or its tradition. I’m interested in giving space to Blackwomen presence. A presence which has been distorted, hidden and denied. I’m interested in our humanity, our feelings and our politics; somethings [sic.] which have been neglected … I have a sense of urgency about our ‘apparent’ absence in a space we’ve inhabited for several centuries. <br/>(Quoted in <i>Claudette Johnson: Pushing Back the Boundaries</i>, exhibition catalogue, Rochdale Art Gallery 1990, p.2.) </blockquote>\n<p>Johnson is motivated by an attempt to convey images of Black women without distortion or caricature, describing the difficulty of being ‘seen’. She is inspired by a generation of African American writers including James Baldwin, Toni Cade Bambara, Alice Walker and, most importantly Toni Morrison. In 2013 she stated: ‘From the moment that I read <i>The Bluest Eye</i> – Toni Morrison – I knew that I wanted to focus on black women as subject and form. In the novel Morrison writes about black people in a way that I could not recall ever having experienced before. It felt revelatory.’ (Quoted in Himid 2013, p.64.) She has often cited the treatment of Morrison’s central character Pecola, in particular her encounter with a white Southern shopkeeper, as a key source of inspiration because it illuminated ‘How impossible it was for a Southern shopkeeper to “see” her, yet how powerfully and accurately she could see him. How alive and vibrant she was inside and outside of the construct he had made of her.’ (Quoted in <i>Claudette Johnson: Portraits from a Small Room</i>, exhibition catalogue, 198 Gallery, London 1994, p.5.) </p>\n<p>Johnson trained as an artist at Wolverhampton Polytechnic between 1979 and 1982 where she co-founded the Blk Art Group alongside artists Keith Piper, Eddie Chambers and Donald Rodney and, later, Marlene Smith. She played a key role in the formation of a Black British feminist art movement that developed in the 1980s, and participated in all three of the exhibitions curated by artist Lubaina Himid that have since defined the movement: <i>Five Black Women</i> at The Africa Centre and <i>Black Woman Time Now</i> at Battersea Arts Centre (both 1983), as well as <i>The Thin Black Line</i> at the Institute for Contemporary Arts in London (1985). Johnson has maintained a commitment to figuration throughout her career. In 2013 she said, ‘I felt that the figure could express everything; through figuration, abstraction and invention I could tell personal and in its widest sense political truths’ (quoted in Himid 2013, p.64).</p>\n<p>\n<b>Further reading</b>\n<br/>Lubaina Himid, <i>Thin Black Line(s)</i>, exhibition catalogue, Tate Britain, London 2013.<br/>Claudette Johnson, ‘Artist Statement’, in <i>Carte de Visite</i>, exhibition catalogue, Hollybush Gardens, London 2016.<br/>Sonya Dyer, ‘Claudette Johnson’, <i>frieze</i> magazine, no.193, December 2017, <a href=\"https://frieze.com/article/claudette-johnson\">https://frieze.com/article/claudette-johnson</a>, accessed 15 October 2018.</p>\n<p>Laura Castagnini<br/>October 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-04-16T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>To create this work Johnson drew herself using a small mirror on a low chair. She gazes directly down on us, at an angle that heightens her confident stance. She has said, ‘I’m interested in giving space to Blackwomen presence. A presence which has been distorted, hidden and denied.’ The masked figures in the background reclaim the often unacknowledged inspiration of African art on white Western artists. By referring to the masks as ‘African’, Johnson draws attention to art history’s failure to record the names, or even the nationalities of the artists of these influential works. </p>\n</div>\n", "display_name": "Display caption", "publication_date": "2020-12-09T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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

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[ { "artistRoomsTour": false, "dateText": "21 March 2019 – 28 May 2023", "endDate": "2023-05-28", "exhibitionLegs": [ { "dateText": "21 March 2019 – 4 August 2019", "endDate": "2019-08-04", "id": 12446, "startDate": "2019-03-21", "venueName": "Seoul Museum of Art (Seoul, South Korea)", "venueWebsiteUrl": "http://seoulmoa.org/html/eng/menu01/contents05.jsp" }, { "dateText": "1 September 2019 – 1 January 2020", "endDate": "2020-01-01", "id": 13276, "startDate": "2019-09-01", "venueName": "M Woods Museum (Beijing, China)", "venueWebsiteUrl": null }, { "dateText": "1 February 2020 – 13 September 2020", "endDate": "2020-09-13", "id": 12448, "startDate": "2020-02-01", "venueName": "Bucerius Kunst Forum (Hamburg, Germany)", "venueWebsiteUrl": "http://www.buceriuskunstforum.de" }, { "dateText": "18 October 2021 – 23 January 2022", "endDate": "2022-01-23", "id": 14524, "startDate": "2021-10-18", "venueName": "Centre for Fine Arts - BOZAR (Brussels, Belgium)", "venueWebsiteUrl": null }, { "dateText": "10 February 2022 – 19 June 2022", "endDate": "2022-06-19", "id": 13810, "startDate": "2022-02-10", "venueName": "Kunstforum Wien (Vienna, Austria)", "venueWebsiteUrl": "http://www.kunstforum-wien.at" }, { "dateText": "8 July 2022 – 30 October 2022", "endDate": "2022-10-30", "id": 14525, "startDate": "2022-07-08", "venueName": "Kunstmuseum (Luzern, Switzerland)", "venueWebsiteUrl": "http://www.kunstmuseumluzern.ch" }, { "dateText": "28 January 2023 – 28 May 2023", "endDate": "2023-05-28", "id": 13811, "startDate": "2023-01-28", "venueName": "Musée Granet (Aix-en-Provence, France)", "venueWebsiteUrl": null }, { "dateText": null, "endDate": null, "id": 13812, "startDate": null, "venueName": "Palazzo Reale (Milan, Italy)", "venueWebsiteUrl": null } ], "id": 10250, "startDate": "2019-03-21", "title": "David Hockney", "type": "Tate partnerships & programmes" }, { "artistRoomsTour": false, "dateText": "15 July 2023 – 5 November 2023", "endDate": "2023-11-05", "exhibitionLegs": [ { "dateText": "15 July 2023 – 5 November 2023", "endDate": "2023-11-05", "id": 13766, "startDate": "2023-07-15", "venueName": "Museum of Contemporary Art Tokyo (Tokyo, Japan)", "venueWebsiteUrl": null } ], "id": 11370, "startDate": "2023-07-15", "title": "David Hockney, in collaboration with the Hockney Studio", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>In the Studio, December 2017</i> 2017 is a panoramic colour photographic image of David Hockney standing in his studio in the Hollywood Hills, Los Angeles. The back and side walls are fully hung with paintings made over the previous nine months and a number of paintings and drawings lean against the base of both walls. At the right edge two easels hold paintings and, standing proud of the left wall, another easel holds a third painting. Hockney stands to the left of a large Persian rug, off-centre and facing straight out; he wears a striped cardigan. Around him are positioned two stools and two armchairs, as well as a copy of his <i>SUMO</i> retrospective book, published by Taschen in 2016, which is shown open on a book stand. The viewpoint is from high up, looking down into the studio yet the image’s structure does not conform to conventional photographic one-point perspective, but rather to a moving focus around each object in the studio. </p>\n<p>\n<i>In the Studio, December 2017</i> is the sum of manipulating over 3,000 photographs of the studio set-up that had been stitched together digitally to produce what Hockney described in 2014 as a ‘photographic drawing’ (<i>David Hockney</i>, 2017, p.193). The first works he made of this type were crude compared to the images of the studio he created in 2017 and 2018; these were the result of using Agisoft PhotoScan photogrammetric software that would combine the hundreds of details of an image and individual objects to create what Hockney described as a ‘three dimensional approximation through which a toggle-wielding viewer could then manoeuvre, rising through, descending, tilting, and rebalancing the surround, focusing this way and that, in and out, up and down’ (quoted in Pace 2018, pp.18–19). Hockney has described how he and his assistant Jonathan Wilkinson used the 3D software to make ‘360-degree tours of various individual objects – a stool, an easel, a chair, a rug, the Taschen SUMO book on its dedicated tripod stand … and then waited as their laptop … generated notional digital objects that could be moved about the notional space.’ (Quoted in Pace 2018, pp.18–19.) </p>\n<p>The sense of a three-dimensional moving focus that Hockney achieved with this and related works connected with his much earlier experimentation with photographic collages or ‘joiners’ in the 1980s that culminated with <i>Pearblossom Hwy., 11–18th April 1986</i> 1986 (J. Paul Getty Museum, Los Angeles) – an image of a desert highway crossing made up of a collage of over 800 individual photographs. The experimentation that Hockney carried out in the 1980s into a use of photography that undermined its technical restriction to one point perspective in favour of images that shifted their focal point also reflected and confirmed changes that were taking place in his painting by 1980 – away from the naturalism of the ‘Double Portraits’ of the early 1970s (such as <i>Mr and Mrs Clark and Percy </i>1970–1 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hockney-mr-and-mrs-clark-and-percy-t01269\" title=\"View the details of this artwork\"><span>T01269</span></a>]) in favour of paintings that involved a mobile rather than static viewer, first indicated by the painting <i>Mulholland Drive, The Road to the Studio</i> 1980 (Los Angeles County Museum). Such paintings reflected his growing certainty that painting had to be as close to actual lived experience as possible and, if the viewer or artist is mobile, then the resulting painting should be infused with multiple perspectives and moving focus.</p>\n<p>Another aspect of Hockney’s renewed thinking about picture-making in the 1980s had revolved around reverse perspective – a way of picturing that effectively reversed perspectival vanishing points. Since returning to Los Angeles in 2013, Hockney engrossed himself with picturing movement in the studio as a means of explicitly concentrating on ways of realising a moving focus in his work – harnessing both paint and digital technology – according to his principle that ‘the eye is always moving; if it isn’t moving you are dead. When my eye moves the perspective alters according to the way I’m looking, so it’s constantly changing; in real life when you are looking at five people there are a thousand perspectives.’ (Quoted in Martin Gayford, ‘Hockney’, in Pace 2014, p.8.)</p>\n<p>In the spring of 2014 he started to paint groups of figures standing and sitting in the studio looking at some of the finished portraits hanging there. Figures might be repeated in the same picture, looking both at a wall of pictures and out towards the viewer of the painting, or they might be positioned in the studio to emphasise the moving focus of Hockney’s eyes. These, and the paintings that followed using dancers, are concerned primarily with pictorial space, and how groups of people move and position themselves within that space. For Hockney these paintings, making a direct reference to Henri Matisse’s (1869–1954) painting <i>Dance</i> 1911, confirmed how ‘the still picture can have movement because the eye moves’ (quoted in Pace 2014, p.11). This then led him to make the first of his photographic drawings, again set in the studio with representations of recent and old work acting as visual prompts for the viewer. </p>\n<p>\n<i>In the Studio, December 2017</i> captures the developments made immediately after the opening of Hockney’s solo exhibition at Tate Britain, London in 2017 – again, bringing together paint and digital technology. The photographic drawing gathers together the different paintings he made, constructed using reverse perspective that led him to create shaped canvases to emphasise this principle. The subject of the paintings also significantly alters; from the terrace of his home (<i>Interior with Blue Terrace and Garden</i> 2017, created using a conventional landscape format canvas, and <i>A Bigger Interior with Blue Terrace and Garden</i> 2017, the fourth of his paintings to use a shaped canvas); to invented compositions that play between interior and exterior and the positioning of different objects – stones, chairs, flowers and versions of other artist’s works (Fra Angelico’s <i>Annunciation</i> 1437–46 or Meindert Hobbema’s <i>The Avenue at Middelharnis</i> 1689 [National Gallery, London]); before also tackling his own work. <i>Still Life</i> 2017 recalls a motif from Hockney’s <i>Portrait Surrounded by Artistic Devices</i> 1965 (Arts Council Collection, London); <i>Garrowby Hill</i> 2017 recalls the painting of the same title of 1998 that is also reproduced in the photographic drawing – being the spread displayed from the Taschen book. He also revisited his use of the Grand Canyon, Nichols Canyon and the Hotel Acatlan as prior subjects that had already been suggestive of the presence of reverse perspective.</p>\n<p>As well as being a portrayal of a large body of work before it leaves the studio for exhibition, <i>In the Studio, December 2017 </i>continues a polemical purpose within Hockney’s art, making clear the shifts in his subject-matter as he moved beyond naturalism by the end of the 1970s – to make work that encompasses how we see and respond to the world around us. The studio is both a place of artistic creation and self-referential subject. It is more specifically the location where Hockney’s consistent questioning and hard looking results in pictures – depictions and representations – that could equate with how we experience the world. Hockney’s ambition and use of the studio as motif in this way directly connects with significant art historical precursors such as Henri Matisse’s <i>The</i> <i>Red Studio</i> 1911 (Museum of Modern Art, New York) and Gustave Courbet’s (1819–1877) <i>The Painter’s Studio – A real allegory summing up seven years of my artistic and moral life</i> 1855 (Musée d’Orsay, Paris). </p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>David Hockney, Some New Painting (and Photography)</i>, exhibition catalogue, Pace, New York 2014.<br/>\n<i>David Hockney, Painting and Photography</i>, exhibition catalogue, Annely Juda Gallery, London 2015.<br/>Chris Stephens, Andrew Wilson (eds.), <i>David Hockney</i>, exhibition catalogue, Tate Britain, London 2017.<br/>\n<i>David Hockney, Something New in Painting (and Photography) [and even Printing]</i>, exhibition catalogue, Pace, New York 2018.</p>\n<p>Andrew Wilson<br/>August 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-07-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1972", "fc": "Candice Breitz", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/candice-breitz-13408" } ]

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[ { "artistRoomsTour": false, "dateText": "1 February 2025 – 11 May 2025", "endDate": "2025-05-11", "exhibitionLegs": [ { "dateText": "1 February 2025 – 11 May 2025", "endDate": "2025-05-11", "id": 16214, "startDate": "2025-02-01", "venueName": "BPS22 Musée d’art de la Province de Hainaut (Charleroi, Belgium)", "venueWebsiteUrl": null } ], "id": 13297, "startDate": "2025-02-01", "title": "Candice Breitz", "type": "Loan-out" } ]