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[ { "append_role_to_name": false, "date": "1925–2019", "fc": "Takis", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/takis-2019" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999780, "shortTitle": "Tate Patrons" }, { "id": 999999973, "shortTitle": "Tate Members" }, { "id": 999999956, "shortTitle": "Collection" } ]

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[ { "artistRoomsTour": false, "dateText": "3 July 2019 – 18 May 2020", "endDate": "2020-05-18", "exhibitionLegs": [ { "dateText": "21 November 2019 – 18 May 2020", "endDate": "2020-05-18", "id": 12923, "startDate": "2019-11-21", "venueName": "Museu d’Art Contemporani de Barcelona (Barcelona, Spain)", "venueWebsiteUrl": null }, { "dateText": null, "endDate": null, "id": 12924, "startDate": null, "venueName": "Museum of Cycladic Art (Athens, Greece)", "venueWebsiteUrl": null } ], "id": 10640, "startDate": "2019-07-03", "title": "Takis", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "3 July 2019 – 25 October 2020", "endDate": "2020-10-25", "exhibitionLegs": [ { "dateText": "3 July 2019 – 27 October 2019", "endDate": "2019-10-27", "id": 11981, "startDate": "2019-07-03", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" }, { "dateText": "21 November 2019 – 19 April 2020", "endDate": "2020-04-19", "id": 12624, "startDate": "2019-11-21", "venueName": "Museu d’Art Contemporani de Barcelona (Barcelona, Spain)", "venueWebsiteUrl": null }, { "dateText": "20 May 2020 – 25 October 2020", "endDate": "2020-10-25", "id": 12879, "startDate": "2020-05-20", "venueName": "Museum of Cycladic Art (Athens, Greece)", "venueWebsiteUrl": null } ], "id": 9742, "startDate": "2019-07-03", "title": "Takis", "type": "Exhibition" } ]

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[ { "append_role_to_name": false, "date": "1925–2019", "fc": "Takis", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/takis-2019" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999780, "shortTitle": "Tate Patrons" }, { "id": 999999973, "shortTitle": "Tate Members" }, { "id": 999999956, "shortTitle": "Collection" } ]

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[ { "artistRoomsTour": false, "dateText": "3 July 2019 – 18 May 2020", "endDate": "2020-05-18", "exhibitionLegs": [ { "dateText": "21 November 2019 – 18 May 2020", "endDate": "2020-05-18", "id": 12923, "startDate": "2019-11-21", "venueName": "Museu d’Art Contemporani de Barcelona (Barcelona, Spain)", "venueWebsiteUrl": null }, { "dateText": null, "endDate": null, "id": 12924, "startDate": null, "venueName": "Museum of Cycladic Art (Athens, Greece)", "venueWebsiteUrl": null } ], "id": 10640, "startDate": "2019-07-03", "title": "Takis", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "3 July 2019 – 25 October 2020", "endDate": "2020-10-25", "exhibitionLegs": [ { "dateText": "3 July 2019 – 27 October 2019", "endDate": "2019-10-27", "id": 11981, "startDate": "2019-07-03", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" }, { "dateText": "21 November 2019 – 19 April 2020", "endDate": "2020-04-19", "id": 12624, "startDate": "2019-11-21", "venueName": "Museu d’Art Contemporani de Barcelona (Barcelona, Spain)", "venueWebsiteUrl": null }, { "dateText": "20 May 2020 – 25 October 2020", "endDate": "2020-10-25", "id": 12879, "startDate": "2020-05-20", "venueName": "Museum of Cycladic Art (Athens, Greece)", "venueWebsiteUrl": null } ], "id": 9742, "startDate": "2019-07-03", "title": "Takis", "type": "Exhibition" } ]

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[ { "append_role_to_name": false, "date": "1925–2019", "fc": "Takis", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/takis-2019" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999780, "shortTitle": "Tate Patrons" }, { "id": 999999973, "shortTitle": "Tate Members" }, { "id": 999999956, "shortTitle": "Collection" } ]

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[ { "artistRoomsTour": false, "dateText": "3 July 2019 – 18 May 2020", "endDate": "2020-05-18", "exhibitionLegs": [ { "dateText": "21 November 2019 – 18 May 2020", "endDate": "2020-05-18", "id": 12923, "startDate": "2019-11-21", "venueName": "Museu d’Art Contemporani de Barcelona (Barcelona, Spain)", "venueWebsiteUrl": null }, { "dateText": null, "endDate": null, "id": 12924, "startDate": null, "venueName": "Museum of Cycladic Art (Athens, Greece)", "venueWebsiteUrl": null } ], "id": 10640, "startDate": "2019-07-03", "title": "Takis", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "3 July 2019 – 25 October 2020", "endDate": "2020-10-25", "exhibitionLegs": [ { "dateText": "3 July 2019 – 27 October 2019", "endDate": "2019-10-27", "id": 11981, "startDate": "2019-07-03", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" }, { "dateText": "21 November 2019 – 19 April 2020", "endDate": "2020-04-19", "id": 12624, "startDate": "2019-11-21", "venueName": "Museu d’Art Contemporani de Barcelona (Barcelona, Spain)", "venueWebsiteUrl": null }, { "dateText": "20 May 2020 – 25 October 2020", "endDate": "2020-10-25", "id": 12879, "startDate": "2020-05-20", "venueName": "Museum of Cycladic Art (Athens, Greece)", "venueWebsiteUrl": null } ], "id": 9742, "startDate": "2019-07-03", "title": "Takis", "type": "Exhibition" } ]

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[ { "append_role_to_name": false, "date": "1925–2019", "fc": "Takis", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/takis-2019" } ]

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[ { "artistRoomsTour": false, "dateText": "3 July 2019 – 18 May 2020", "endDate": "2020-05-18", "exhibitionLegs": [ { "dateText": "21 November 2019 – 18 May 2020", "endDate": "2020-05-18", "id": 12923, "startDate": "2019-11-21", "venueName": "Museu d’Art Contemporani de Barcelona (Barcelona, Spain)", "venueWebsiteUrl": null }, { "dateText": null, "endDate": null, "id": 12924, "startDate": null, "venueName": "Museum of Cycladic Art (Athens, Greece)", "venueWebsiteUrl": null } ], "id": 10640, "startDate": "2019-07-03", "title": "Takis", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "3 July 2019 – 25 October 2020", "endDate": "2020-10-25", "exhibitionLegs": [ { "dateText": "3 July 2019 – 27 October 2019", "endDate": "2019-10-27", "id": 11981, "startDate": "2019-07-03", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" }, { "dateText": "21 November 2019 – 19 April 2020", "endDate": "2020-04-19", "id": 12624, "startDate": "2019-11-21", "venueName": "Museu d’Art Contemporani de Barcelona (Barcelona, Spain)", "venueWebsiteUrl": null }, { "dateText": "20 May 2020 – 25 October 2020", "endDate": "2020-10-25", "id": 12879, "startDate": "2020-05-20", "venueName": "Museum of Cycladic Art (Athens, Greece)", "venueWebsiteUrl": null } ], "id": 9742, "startDate": "2019-07-03", "title": "Takis", "type": "Exhibition" } ]

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[ { "append_role_to_name": false, "date": "1925–2019", "fc": "Takis", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/takis-2019" } ]

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[ { "artistRoomsTour": false, "dateText": "3 July 2019 – 18 May 2020", "endDate": "2020-05-18", "exhibitionLegs": [ { "dateText": "21 November 2019 – 18 May 2020", "endDate": "2020-05-18", "id": 12923, "startDate": "2019-11-21", "venueName": "Museu d’Art Contemporani de Barcelona (Barcelona, Spain)", "venueWebsiteUrl": null }, { "dateText": null, "endDate": null, "id": 12924, "startDate": null, "venueName": "Museum of Cycladic Art (Athens, Greece)", "venueWebsiteUrl": null } ], "id": 10640, "startDate": "2019-07-03", "title": "Takis", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "3 July 2019 – 25 October 2020", "endDate": "2020-10-25", "exhibitionLegs": [ { "dateText": "3 July 2019 – 27 October 2019", "endDate": "2019-10-27", "id": 11981, "startDate": "2019-07-03", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" }, { "dateText": "21 November 2019 – 19 April 2020", "endDate": "2020-04-19", "id": 12624, "startDate": "2019-11-21", "venueName": "Museu d’Art Contemporani de Barcelona (Barcelona, Spain)", "venueWebsiteUrl": null }, { "dateText": "20 May 2020 – 25 October 2020", "endDate": "2020-10-25", "id": 12879, "startDate": "2020-05-20", "venueName": "Museum of Cycladic Art (Athens, Greece)", "venueWebsiteUrl": null } ], "id": 9742, "startDate": "2019-07-03", "title": "Takis", "type": "Exhibition" } ]

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[ { "append_role_to_name": false, "date": "1925–2019", "fc": "Takis", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/takis-2019" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999780, "shortTitle": "Tate Patrons" }, { "id": 999999973, "shortTitle": "Tate Members" }, { "id": 999999956, "shortTitle": "Collection" } ]

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[ { "artistRoomsTour": false, "dateText": "3 July 2019 – 18 May 2020", "endDate": "2020-05-18", "exhibitionLegs": [ { "dateText": "21 November 2019 – 18 May 2020", "endDate": "2020-05-18", "id": 12923, "startDate": "2019-11-21", "venueName": "Museu d’Art Contemporani de Barcelona (Barcelona, Spain)", "venueWebsiteUrl": null }, { "dateText": null, "endDate": null, "id": 12924, "startDate": null, "venueName": "Museum of Cycladic Art (Athens, Greece)", "venueWebsiteUrl": null } ], "id": 10640, "startDate": "2019-07-03", "title": "Takis", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "3 July 2019 – 25 October 2020", "endDate": "2020-10-25", "exhibitionLegs": [ { "dateText": "3 July 2019 – 27 October 2019", "endDate": "2019-10-27", "id": 11981, "startDate": "2019-07-03", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" }, { "dateText": "21 November 2019 – 19 April 2020", "endDate": "2020-04-19", "id": 12624, "startDate": "2019-11-21", "venueName": "Museu d’Art Contemporani de Barcelona (Barcelona, Spain)", "venueWebsiteUrl": null }, { "dateText": "20 May 2020 – 25 October 2020", "endDate": "2020-10-25", "id": 12879, "startDate": "2020-05-20", "venueName": "Museum of Cycladic Art (Athens, Greece)", "venueWebsiteUrl": null } ], "id": 9742, "startDate": "2019-07-03", "title": "Takis", "type": "Exhibition" } ]

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[ { "append_role_to_name": false, "date": "1925–2019", "fc": "Takis", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/takis-2019" } ]

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[ { "artistRoomsTour": false, "dateText": "3 July 2019 – 18 May 2020", "endDate": "2020-05-18", "exhibitionLegs": [ { "dateText": "21 November 2019 – 18 May 2020", "endDate": "2020-05-18", "id": 12923, "startDate": "2019-11-21", "venueName": "Museu d’Art Contemporani de Barcelona (Barcelona, Spain)", "venueWebsiteUrl": null }, { "dateText": null, "endDate": null, "id": 12924, "startDate": null, "venueName": "Museum of Cycladic Art (Athens, Greece)", "venueWebsiteUrl": null } ], "id": 10640, "startDate": "2019-07-03", "title": "Takis", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "3 July 2019 – 25 October 2020", "endDate": "2020-10-25", "exhibitionLegs": [ { "dateText": "3 July 2019 – 27 October 2019", "endDate": "2019-10-27", "id": 11981, "startDate": "2019-07-03", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" }, { "dateText": "21 November 2019 – 19 April 2020", "endDate": "2020-04-19", "id": 12624, "startDate": "2019-11-21", "venueName": "Museu d’Art Contemporani de Barcelona (Barcelona, Spain)", "venueWebsiteUrl": null }, { "dateText": "20 May 2020 – 25 October 2020", "endDate": "2020-10-25", "id": 12879, "startDate": "2020-05-20", "venueName": "Museum of Cycladic Art (Athens, Greece)", "venueWebsiteUrl": null } ], "id": 9742, "startDate": "2019-07-03", "title": "Takis", "type": "Exhibition" } ]

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[ { "append_role_to_name": false, "date": "1925–2021", "fc": "Etel Adnan", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/etel-adnan-26621" } ]

[ { "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>Key Signs</i> 2017 is an example of Etel Adnan’s ‘leporello’ works, leporello being a book format with folded concertina-style pages. The work combines washes of watercolour with black ink hieroglyph-like forms. While in her other leporello works, Adnan at times has referred to specific texts, such as the poem <i>Assassination Raga </i>(1968), an ecstatic funeral oration for Senator Robert Kennedy written by the American beat poet Lawrence Ferlinghetti in the earlier <i>Untitled </i>1970 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/adnan-untitled-t15063\" title=\"View the details of this artwork\"><span>T15063</span></a>), in <i>Key Signs</i> Adnan has developed a visual vocabulary of glyphs that is more explicitly abstract, as the title suggests. She has explained that, for her, ‘Abstract art was the equivalent of poetic expression. I didn’t need to use words, but colours and lines. I didn’t need to belong to a language-oriented culture but to an open form of expression.’ (Etel Adnan, <i>To Write in a Foreign Language</i>, 1996, <a href=\"https://www.epoetry.org/issues/issue1/alltext/esadn.htm\">https://www.epoetry.org/issues/issue1/alltext/esadn.htm</a>, accessed 21 December 2018.) The work bridges textual and visual elements within the practice of an artist whose body of work has combined poetry, painting, collage, tapestry, ceramics and film.</p>\n<p>The choice of the leporello format presented Adnan with a dynamic paradox: an expanded space, multiplying its potentialities as the pages unfurl but, when closed, reduced to the symbolic space of a notebook, a metaphor for mobility and aesthetic nomadism (Adnan herself is of Lebanese-Syrian origin but has lived in California since the 1950s). She has recalled: ‘Around 1964, I discovered these Japanese “books” which fold like an accordion, on whose pages the Japanese painters mixed drawings with writings and poems … When I saw that format I thought it was a good way to get out of the page as a square or rectangle; it was like writing a river.’ (Quoted in Obrist 2014, p.45.) </p>\n<p>This practice has particular meaning in the Arab context where writing and art often come together. In Adnan’s hands, the pages of the leporello become a visual art medium that condenses a diversity of forms and aesthetics: from the old miniature book, to a modern paper ‘cinema’, where flipping through pages can result in the effect of moving images. Adnan’s mobile landscape of word and image has a multiplicity of references, from calligraphic manuscripts, to road trip-style sketches or notes from a travelogue, to depictions of planets and constellations in the cosmos. The use of leporello is an ongoing feature of Adnan’s practice which, as a whole, bridges poetry, painting, collage, tapestry, ceramics and film. The leporello works have played a key role in Adnan’s exhibition presentations and were featured prominently in her submission to <i>Documenta 13</i> in 2012, as well as in her retrospective at Mathaf, Doha in 2014 and her exhibition at the Serpentine, London in 2016. </p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Etel Adnan: On Love and the Cost We Are Not Willing to Pay Today: 100 Notes, 100 Thoughts</i>, Documenta series 006, Ostfildern 2011.<br/>Hans Ulrich Obrist, <i>Etel Adnan, In All Her Dimensions</i>, Doha and Milan 2014.<br/>Hans Ulrich Obrist, <i>Etel Adnan: The Weight of the World</i>, exhibition catalogue, Serpentine Gallery, London 2016. <i> </i>\n</p>\n<p>Morad Montazami and Dina Akhmadeeva<br/>December 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-08-14T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1940 – 2021", "fc": "Jimmie Durham", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/jimmie-durham-11953" } ]

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[ { "artistRoomsTour": false, "dateText": "7 December 2020 – 18 June 2023", "endDate": "2023-06-18", "exhibitionLegs": [ { "dateText": "7 December 2020 – 18 June 2023", "endDate": "2023-06-18", "id": 14070, "startDate": "2020-12-07", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11626, "startDate": "2020-12-07", "title": "Jimmie Durham", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Untitled </i>1993–2012 is an installation comprising ten individual pieces that were originally presented at the 1993 Whitney Biennial in New York. Regarded as the ‘identity biennial’, this landmark exhibition was a crucial moment in American art that responded to the cultural politics of the time, provoking discourse and debate around multiculturalism and the lack of representation of artists of colour at museums. Durham’s contribution to the biennial consisted of a larger installation comprising this set of ten wall-mounted pieces, alongside three floor-bound sculptures, one of which is in Tate’s collection, entitled <i>Dans plusieurs de ces forêts et de ces bois, il n’y avait pas seulement des villages souterrains groupés autours du terrier du chef mais il y avait encore de véritables hameaux de huttes basses cachés sous les arbres, et si nombreaux que parfois la forêt en était remplie. Souvent les fumées les trahissaient. Deux de... </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/durham-dans-plusieurs-de-ces-forets-et-de-ces-bois-il-ny-avait-pas-seulement-des-villages-t13290\" title=\"View the details of this artwork\"><span>T13290</span></a>), while the other two are lost. The ten wall elements were all part of the original presentation and hence are dated 1993. However, the text element of one of the parts had to be remade for the artist’s retrospective at MUHKA, Antwerp in 2012 and therefore this piece is dated 1993–2012.</p>\n<p>Constructed from found objects and materials including metal gun parts, bullet shells, a fire hose, animal bones, glass lenses, tool handles and carved tree branches, the works are indicative of Durham’s assemblage techniques, though in a more simplified form. Each is accompanied by a handwritten text excerpted from major works of Western literature, including the Bible and works of Leo Tolstoy, Victor Hugo and Homer. The texts are written in English, German, Greek and Russian on scraps of paper and canvas that are casually pinned or attached to the object. Originally hung on an L-shaped wall, these pieces resemble crude, abstracted forms of weaponry and surveillance devices that collage manmade parts with natural materials. With characteristic wit and humour, Durham displays these instruments as clumsy, almost limp specimens. Critical of modern methods of violence and control, these works are as much a critique on Western systems of power, knowledge and domination, as they are poignant artefacts of everyday human life. </p>\n<p>The works are indicative of Durham’s improvised process of making art. Taking elements produced in his studio in Mexico, Durham transported the works in a suitcase and completed the installation in New York, incorporating objects such as white PVC pipe found on the streets. In his words, in making this work he was inspired by:</p>\n<p class=\"cttext\">\n</p><blockquote>Things that point. That was the first idea, and therefore the next thought was, ‘guns and cameras’. Almost all of the work was made in my studio in Cuernavaca, which was part of our house but with a separate door from the downstairs terrace. I do not collect garbage but material of any kind that seems useful and free so the studio was always full of stuff waiting to have new positions in the world … The finished work looked to me like a science fiction-type weapon as much as anything.<br/>(Unpublished artist’s text on the ‘Making of the work for the ’93 Whitney Biennial’.)</blockquote>\n<p>\n<b>Further reading</b>\n<br/>Anders Kreuger (ed.), <i>Jimmie Durham: A Matter of Life and Death and Singing</i>, exhibition catalogue, MUHKA, Antwerp 2012.<br/>Anne Ellegood (ed.), <i>Jimmie Durham: At the Center of the World</i>, exhibition catalogue, Hammer Museum, Los Angeles 2017.</p>\n<p>Clara Kim<br/>July 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-08-14T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>‘Things that point. That was the first idea, and therefore the next thought was, ‘guns and cameras’’, Durham recalled. This series of wall-mounted objects resemble crude weapons and surveillance devices, collaging industrial, crafted and natural materials. They are titled with texts from works of western literature including the Christian Bible, and works by Homer, Virgil, John Milton, Johann Wolfgang von Goethe, Leo Tolstoy and Thomas Mann. Durham confounds the relationship between object and text, subverting traditional museum practice and western systems of categorisation.</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 1963", "fc": "Yin Xiuzhen", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/yin-xiuzhen-26850" } ]

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[ { "artistRoomsTour": false, "dateText": "9 December 2019 – 19 June 2022", "endDate": "2022-06-19", "exhibitionLegs": [ { "dateText": "9 December 2019 – 19 June 2022", "endDate": "2022-06-19", "id": 13436, "startDate": "2019-12-09", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11070, "startDate": "2019-12-09", "title": "Yin Xiuzhen", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Weapon </i>2003–7 is composed of thirty individual ‘missiles’, each one measuring almost four metres in length. Each of these is constructed from plastic drying rods and metal hoops, over which different fabrics have been stretched and knotted. At the end of every projectile protrudes the blade of a small kitchen knife. When displayed, the missiles are suspended from the ceiling with fishing wire, at various heights, with the blades pointing in the same direction.</p>\n<p>The textiles are a mix of different colours, and various patterns are discernible including Scottish argyle and tartan, indicating a globalised economy of goods beyond the artist’s locality of Beijing. The knitted jersey construction of the fabrics is further evidence of their former sartorial life, thereby aligning <i>Weapon</i> with other clothing-based works in the artist’s output. Most notable of these is <i>Portable Cities </i>2001–ongoing, in which the artist has created fabric cityscapes in suitcases which can theoretically be closed and transported. The used condition of the fabric is significant, both as a comment on the ‘fast fashion’ culture in which textiles are increasingly being accepted as disposable commodities, and as an exploration of clothing as a repository for ‘experiences, memory and traces of time’ (Quoted in Hanru et al. 2015, p.126). </p>\n<p>Yin’s upbringing in Beijing during the Cultural Revolution inspired these ruminations on how one maintains individual identity against the backdrop of a collective culture. Her interest in the formal properties of textiles was inherited from her seamstress mother who customarily made new clothes for the family for each Spring Festival. In relation to her use of everyday objects in her work, the artist has stated that the retrospective of the work of American artist Robert Rauschenberg (1925–2008) held at the Beijing National Art Museum in 1995 greatly contributed to her interest in assemblage and found materials.</p>\n<p>\n<i>Weapon </i>is a culmination of the artist’s long-term preoccupations with the urban environment and political power. The shape of each weapon recalls the distinctive profile of Beijing’s National Radio and TV Tower, the form of which recurs throughout Yin’s practice. The art historian Wu Hung has written of this as a semantic concern:</p>\n<p class=\"cttext\">\n</p><blockquote>Two major symbols of political power in [Yin’s] works are the missile and the TV tower, which resemble each other with their sharply pointed heads. She calls them ‘weapons’ because, no matter which country they originate from, they both provide crucial means to defeat a hypothetical enemy … Whereas missiles demonstrate a country’s ‘hard’ military might, ‘soft’ images and words disseminated via TV towers are equally powerful in shaping popular opinion.<br/>(Wu Hung, ‘Totally Local, Totally Global: The Art of Yin Xiuzhen’, in ibid., pp.89–90.)</blockquote>\n<p>Such contrasting methods of control are not the only duality in the work – Yin has expounded upon the tension between the tactility of clothing versus the coldness of military hardware:</p>\n<p class=\"cttext\">\n</p><blockquote>Everyone thinks all these pretty things are hanging there, but they don’t notice the inherent danger. Beneath that warmth lies violence and brutality … In our real lives, many brutal realities and violent threats are concealed beneath warmth and gentleness. There’s a great concealment. Thus, when this violence and brutality is revealed, it appears even more brutal and violent through the contrast. I really like this contrast. It doesn’t appear so powerful, but when you take a closer look, you find this lingering fear. <br/>(Yin Xiuzhen, ‘About Clothes’, 2000–2, in ibid., p.37.)</blockquote>\n<p>\n<i>Weapon </i>is an edited version of the artist’s much larger installation originally exhibited in China’s national pavilion at the 52nd Venice Biennale in 2007, where it comprised 210 ‘missiles’. It has since been exhibited in a number of formats.</p>\n<p>Yin’s artistic career began in 1995 and she is one of the most prominent successors to follow the earlier generation of the artists known as the Beijing Avant-Garde. Exploiting the cultural connotations of everyday objects, often on a large or immersive scale, has typified her practice to date. A comment on the rapid pace of industrialisation in China, her works draw upon vernacular Chinese traditions and their erosion in the face of globalisation. Her practice also expresses her concern for the effacement of both the environment and individual identity.</p>\n<p>\n<b>Further reading</b>\n<br/>Hou Hanru, Stephanie Rosenthal, Wu Hung and Yin Xiuzhen, <i>Yin Xiuzhen</i>, London 2015, reproduced pp.92–5.<br/>Pan Qing, ‘Yin Xiuzhen: The Fabric of Change’, <i>Art in America</i>, September 2010, pp.108–113.</p>\n<p>Katy Wan<br/>July 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-09-03T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1962", "fc": "Yinka Shonibare CBE", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/yinka-shonibare-cbe-3081" } ]

[ { "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": "25 March 2019 – 24 April 2022", "endDate": "2022-04-24", "exhibitionLegs": [ { "dateText": "25 March 2019 – 24 April 2022", "endDate": "2022-04-24", "id": 13006, "startDate": "2019-03-25", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 10708, "startDate": "2019-03-25", "title": "Yinka Shonibare", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "1 February 2026 – 30 November 2026", "endDate": "2026-11-30", "exhibitionLegs": [ { "dateText": "1 February 2026 – 30 November 2026", "endDate": "2026-11-30", "id": 16143, "startDate": "2026-02-01", "venueName": "No. 1 Royal Crescent Museum (Bath, UK)", "venueWebsiteUrl": null } ], "id": 13238, "startDate": "2026-02-01", "title": "Yinka Shonibare's The British Library", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>The British Library </i>2014 is an installation of 6,328 hardback books individually covered in colourful ‘Dutch wax print’ fabric and arranged on rows of shelving. Names are printed in gold leaf on the spines of 2,700 of the books, the majority of which are of first- or second-generation immigrants to Britain, both celebrated and lesser-known, who have made significant contributions to British culture and history. Among names such as Hans Holbein, Zadie Smith, Dame Helen Mirren and Danny Welbeck, the names of those who have opposed immigration also appear, including Nigel Farage and Oswald Mosley. Adjacent to the bookshelves is a study space with tablets, where viewers are able to access the artwork’s website (<a href=\"http://thebritishlibraryinstallation.com\">http://thebritishlibraryinstallation.com</a>), learn more about the people named on the books, and review materials selected by the artist that represent different perspectives on immigration. Visitors are also invited to submit their own stories using the tablets, and a selection of these responses is made available on the website. The books can be installed in purpose-built bookshelves to any configuration, or in existing bookshelves.</p>\n<p>While <i>The British Library </i>is a celebration of the ongoing contributions made by immigrants to Britain, it also acknowledges dissent, by including those who have railed against immigration. The work is intended to provoke discussion, debate and reflection on all aspects of British culture, and considers notions of territory and place, cultural identity, displacement and refuge. The space within the installation facilitates this aspect of the work, providing an area for debate. The artist outlined the discursive and participatory nature of the project: ‘<i>The British Library </i>is an exploration of the diversity of British identity through a conceptually poetic lens. I look forward to the public engagement with the work.’ (Mark Brown, ‘Yinka Shonibare's tribute to UK diversity acquired by Tate’, <i>Guardian</i>, 8 April 2019, <a href=\"https://www.theguardian.com/artanddesign/2019/apr/08/yinka-shonibare-tribute-uk-diversity-acquired-tate-british-library-books\">https://www.theguardian.com/artanddesign/2019/apr/08/yinka-shonibare-tribute-uk-diversity-acquired-tate-british-library-books</a>, accessed 11 April 2019.) </p>\n<p>The artist also made clear the work’s relevance to contemporary debates, including those concerning ‘the impact of the refugee crisis and conversations about freedom of movement in the European Union’ (Yinka Shonibare CBE, <i>The British Library</i>, <a href=\"http://thebritishlibraryinstallation.com/\">http://thebritishlibraryinstallation.com/</a>, accessed 11 April 2019). The sheer number of names, each with their own unique personal and family history, underlines the multiplicity of reasons behind immigration, stressing the impact of global conflicts and economic factors on an individual level. The library format of the work also addresses how knowledge is generated, stored and disseminated, questions with particular relevance in a digital age. </p>\n<p>Shonibare has become known for his work incorporating ‘Dutch wax print’ fabrics across a range of different media (see, for example, the sculpture <i>The Swing [after Fragonard] </i>2001, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/shonibare-the-swing-after-fragonard-t07952\" title=\"View the details of this artwork\"><span>T07952</span></a>).<i> </i>The fabric is sold widely across Africa and in markets elsewhere which cater to the African diaspora, but was originally produced in the Netherlands in the nineteenth century. Based on traditional wax-resist fabrics made in Indonesia, nineteenth-century Dutch merchants originally saw an opportunity to mechanise its production for export to the Dutch East Indies. By the 1930s there was a booming trade in West and Central Africa for the ‘wax hollandais’, with designs being adapted to local tastes. Within a short period the imported product became a part of African cultural heritage, with unique designs being commissioned for family celebrations and more public commemorations. By incorporating this fabric into his work, Shonibare highlights the contradictions of colonisation and histories of cultural hybridity, while bringing to the fore questions of cultural appropriation, identity and nationalism.</p>\n<p>\n<i>The British Library </i>was originally co-commissioned in 2014 by HOUSE 2014 and Brighton Festival for the Old Reference Library at the Brighton Museum and Art Gallery. The installation has since been presented at Museu Afro Brasil, São Paulo and Turner Contemporary, Margate in 2016, and was shown as part of the Diaspora Pavilion at the Venice Biennale in 2017.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Yinka Shonibare MBE</i>, exhibition catalogue, The Museum of Contemporary Art, Australia 2008.<br/>Rachel Kent, <i>Yinka Shonibare MBE</i>, London 2013.<br/>Yinka Shonibare CBE, <i>The British Library</i>, <a href=\"http://thebritishlibraryinstallation.com/\">http://thebritishlibraryinstallation.com/</a>, accessed 11 April 2019.</p>\n<p>Aïcha Mehrez<br/>June 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-04-15T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1963", "fc": "Juan Fernando Herrán", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/juan-fernando-herran-23008" } ]

[ { "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</i> is a video lasting just over five minutes which the artist made in England in 1993. The work opens with a still image of a landscape, subdivided into three tiers: a field in the foreground, a river running across the centre and an area of natural forest occupying the background. Superimposed above this image is the face of the artist, chewing a lump of grass. Throughout the film, the artist chews all the moisture from the grass until only a solid lump remains, which he extracts from his mouth and presents in his cupped hands. </p>\n<p>Landscape, nature, sculpture and mankind coalesce in <i>Untitled</i>, which uses an action normally associated with animals – the chewing of grass – to show man’s presumed control over nature. In the artist’s words:</p>\n<p class=\"cttext\">\n</p><blockquote>at the end of the eighties and the beginning of the nineties I was interested in various subjects, amongst them the transformation of matter, biological processes and their psychic implications, a reflection on the position of the human being in relation to nature and the similarities between man and animals, and an interest in the body as the hub of experience.</blockquote>\n<blockquote>(Quoted in Garzón 2001, p.88.) </blockquote>\n<p>Although ‘the body as the hub of experience’ is the conduit through which the action of <i>Untitled </i>unfolds, it was nature that first inspired Herrán’s project while a student at Chelsea College of Art in London. Fascinated yet puzzled by the beauty of the English landscape, Herrán compared it to the rural landscape of his native Colombia. Tidy, with dedicated areas for children and pets and what he perceived as an excessively zealous degree of control, the former was in stark contrast with the undomesticated nature of Colombia’s rural areas. The purity of the English countryside made it, in Herrán’s eyes, a site for contemplation and spirituality, which set it apart from his idea of nature as an untamed wilderness. Emblematic of this contrast is the still photograph that provides the opening shot for the video. Taken at the Pedro Palo in Cudinamarca, Colombia, the image shows the co-existence of three distinct microcosms: the fertile land in the foreground (which has been domesticated through farming), the strip of water which naturally and inexorably follows its course, and the undomesticated forest in the background. Each of these settings evokes a different response, and the personal ritual Herrán enacts in the video suggests how mankind negotiates its relationship with nature and seeks to take control of it. </p>\n<p>The metaphor of eating grass was arrived at during a walk in a London park. Herrán came across a dog eating grass, using it – as many animals do – as a cleansing device. This simple process, which the artist decided to experiment with soon after, provided him with the starting point for <i>Untitled</i>. By borrowing this basic form of exchange between the animal and the natural world, Herrán sought to rethink the genre of landscape art. His visceral approach brings the body into an alternative relationship with nature, removing the contemplative emotions usually associated with landscape. Curator José Roca has said of this work: ‘The camera frames the face and then focuses on the mouth, the locus of many biological processes, from the sexual to the scatological, and also the site of language … In Herrán’s personal ritual, nature passes through the body in order to become sculpture and consequently a sign of culture.’ (José Roca in Garzón 2005, p.186.)</p>\n<p>Together with biological processes and a reassessment of the landscape genre, Herrán’s <i>Untitled</i> also addresses the transformation of matter. In this instance matter is chewed until it is transformed into a sculptural form. Excess parts are gradually spat out and only the matter’s core is retained and forced to take a ‘new’ form, one which is dictated by the artist. Sculpture – which was the artist’s main area of study at the time – ultimately overtakes biological processes to take centre stage. The subject matter of the work is characteristic of Herrán’s interest in the relationship between man and nature, as well as place and culture.</p>\n<p>\n<b>Further reading</b>\n<br/>Diego Garzón (ed.), <i>On What we Are: 110 Works from Colombian Contemporary Art</i>, Lunwerg 2001. <br/>Diego Garzón (ed.), <i>Other Voices Other Art: Ten Conversations With Colombian Artists</i>, Bogotá 2005.</p>\n<p>Flavia Frigeri <br/>May 2015 </p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-12-11T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1930–2020", "fc": "Anthony Hill", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/anthony-hill-1284" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Parity Study Theme 3</i> 1972–3 consists of a polished stainless steel square sheet, hung as a lozenge, that provides the base plane for a relief structure which is made up of an arrangement of groupings of 120˚ angle elements, made variously of aluminium and black anodised aluminium. The different materials – surfaces that are either shiny or reflective, dulled and black – create different plays of light over the work. The angled elements are arranged mostly over the lower half of the diamond and consist of eight groups each made up of three elements – four of the groups are aluminium and four are black anodised aluminium. Each group of angled elements presents a different variation of the ways in which they might be arranged, so that the eight groups together form a ‘tree’ that describes a web of hexagonal structures – each complete hexagon being made up of both types of material. In other <i>Parity Study</i> works, the tripartite forms are not arranged to form closed hexagons, but are linked as trees, with each group of three kept separate. Here each is separated from its neighbours only by a contrast in material, to dynamic effect.</p>\n<p>The use of 120˚ angle elements has been a feature of Hill’s reliefs since the mid-1960s. In 1956 Hill had discovered right-angle sections of aluminium that had initiated his orthogonal constructionist reliefs; the discovery, in 1963, of extruded aluminium sections at 120˚ sparked a new sequence of works through the latter half of the 1960s. In works such as <i>S2</i> 1968–9 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hill-s2-t01187\" title=\"View the details of this artwork\"><span>T01187</span></a>), the elements had projected into space; in <i>Parity Study Theme 3</i>, and related reliefs, the elements are laid comparatively flat with the longer edges to the base. </p>\n<p>Anthony Hill, as his 1983 retrospective at the Hayward Gallery, London made clear, was one of the central figures of the group of British constructionists who came to the fore through the 1950s, alongside Kenneth and Mary Martin and Victor Pasmore. Uniquely among them, Hill had come directly to an abstract language in his art without having to move from a representational approach. He was also the major theorist of the British group, publishing regularly in the magazine <i>Structure</i> through the 1950s. Additionally, he engaged in a parallel activity as a mathematical theorist of graph theory and topology; for a period in the 1970s he was an honorary research fellow within the mathematics department at University College London. </p>\n<p>Writing about the constructivist works of the Russian Vladimir Tatlin (1885–1953), the historian Stephen Bann explained how ‘the various constituent materials were at once determinants of content and form: the work was constituted by a “material syntax”’ (Stephen Bann, ‘The Centrality of Charles Biederman’, <i>Studio International</i>, vol.178, no.914, September 1969, p.72). From another perspective, the modernist state of order embodied in the constructed relief provides the basis for language, in much the same way that for the Russian poet Velimir Khlebnikov – a friend of Tatlin’s – the world was determined by mathematical structure. For Hill, such ideas were extended through his longstanding interest in mathematical structures, yet they provided only a beginning point for work that was visually and aesthetically rich. As he explained in an interview with the architect Kenneth Frampton, in which he outlined two dominant trends in his work, as ‘physical’ and ‘thematic’: ‘the physical has to do with context: light, space, dimensions, materials, movement, etc. … the thematic I see as ideas material that can be derived from diverse sources; ordering principles irrespective of the physical attributes of the work, and which can be mathematical in structure.’ (Quoted in ‘Anthony Hill interviewed by Kenneth Frampton’, <i>Studio International</i>, vol.178, no.915, October 1966, p.200.) </p>\n<p>\n<i>Parity Study Theme 3</i>, along with works such as <i>Changing Formact A</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/hill-changing-formact-a-t14964\" title=\"View the details of this artwork\"><span>T14964</span></a>) and <i>Relief Construction (Octagonal)</i> 1982 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hill-relief-construction-octagonal-t14965\" title=\"View the details of this artwork\"><span>T14965</span></a>), suggests in different ways what this might mean. Each of these reliefs encompasses ‘mathematical’ ideas, but from which the realised work is distanced through materials (reflective surfaces, black and white plastic) that direct a play of light, and the action of intuition. The ‘mathematical’ element is thus just a starting point for Hill’s construction of visual poetics, which in part also engage with differing structural definitions for symmetry and asymmetry. In a contemporary explanation of the <i>Hommage à Khlebnikov</i> 1975 series, Hill stressed that, ‘Decisions of an artistic character were made and they were arrived at on the basis of my personal experience. I took a structural theme, which is essentially qualitative, and realised it in a presentation that involves measured modulations.’ (Anthony Hill, ‘A View of non-figurative art and mathematics and an analysis of a structural relief’, <i>Leonardo</i>, vol.10, issue 1, Winter 1977, p.12.)</p>\n<p>\n<b>Further reading</b>\n<br/>Anthony Hill (ed.),<i> DATA, Directions in Art, Theory and Aesthetics</i>, London 1968.<br/>\n<i>Anthony Hill, A Retrospective Exhibition</i>, exhibition catalogue, Hayward Gallery, London 1983.<br/>\n<i>Anthony Hill, Works 1954–82</i>, exhibition catalogue, Austin/Desmond Fine Art, London 2003, reproduced pp.23–26.</p>\n<p>Andrew Wilson<br/>March 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-11-17T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1907–1988", "fc": "Franciszka Themerson", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/franciszka-themerson-23494" }, { "append_role_to_name": false, "date": "1910–1988", "fc": "Stefan Themerson", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/stefan-themerson-17672" } ]

[ { "id": 999999876, "shortTitle": "Tate Britain" }, { "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" } ]

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[ { "artistRoomsTour": false, "dateText": "22 July 2019 – 8 November 2020", "endDate": "2020-11-08", "exhibitionLegs": [ { "dateText": "22 July 2019 – 8 November 2020", "endDate": "2020-11-08", "id": 13158, "startDate": "2019-07-22", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 10834, "startDate": "2019-07-22", "title": "Franciszka and Stefan Themerson", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "3 June 2024 – 30 March 2025", "endDate": "2025-03-30", "exhibitionLegs": [ { "dateText": "3 June 2024 – 30 March 2025", "endDate": "2025-03-30", "id": 15768, "startDate": "2024-06-03", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 12945, "startDate": "2024-06-03", "title": "Franciszka Themerson", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "1 November 2025 – 30 May 2027", "endDate": "2027-05-30", "exhibitionLegs": [ { "dateText": "1 November 2025 – 28 February 2026", "endDate": "2026-02-28", "id": 15972, "startDate": "2025-11-01", "venueName": "External", "venueWebsiteUrl": null }, { "dateText": "1 April 2026 – 31 July 2026", "endDate": "2026-07-31", "id": 15973, "startDate": "2026-04-01", "venueName": "External", "venueWebsiteUrl": null }, { "dateText": "1 September 2026 – 31 December 2026", "endDate": "2026-12-31", "id": 15974, "startDate": "2026-09-01", "venueName": "External", "venueWebsiteUrl": null }, { "dateText": "1 February 2027 – 30 May 2027", "endDate": "2027-05-30", "id": 15975, "startDate": "2027-02-01", "venueName": "External", "venueWebsiteUrl": null } ], "id": 13101, "startDate": "2025-11-01", "title": "IP: The Future of Statues: The Surrealist International", "type": "Loan-out" } ]

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[ { "append_role_to_name": false, "date": "born 1978", "fc": "Anthea Hamilton", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/anthea-hamilton-4789" } ]

[ { "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": "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": "17 February 2022 – 15 May 2022", "endDate": "2022-05-15", "exhibitionLegs": [ { "dateText": "17 February 2022 – 15 May 2022", "endDate": "2022-05-15", "id": 14792, "startDate": "2022-02-17", "venueName": "Museum van Hedendaagse Kunst Antwerpen (Antwerp, Belgium)", "venueWebsiteUrl": null } ], "id": 12167, "startDate": "2022-02-17", "title": "Anthea Hamilton", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Karl Lagerfeld Bean Counter</i> 2012 is a large floor-based sculpture the central element of which is a perspex cut-out of a reclining man who is wearing a lycra wrestling suit. He is resting on his left elbow with his right arm extended in front of his torso, one leg folded under him and the other outstretched. In front of him, trapped in acrylic, is a pile of buckwheat and in front of that ten Desiree potatoes are laid out. These incongruous elements sit on a low wooden rectangular plinth which is painted white. </p>\n<p>The man shown in the cut-out image is the fashion designer Karl Lagerfeld photographed in his youth, looking very different to the highly stylised, white-ponytailed figure we now recognise as Lagerfeld. Hamilton often uses images of male cultural icons in her work, and in particular male cultural icons considered ‘classically handsome’ and who are associated with the fashion, film and music industries. She has spoken about this fascination being based on who decides what is considered worthwhile or beautiful, as well as how such associations are formed and what they preclude. Thus, for example, John Travolta, a straight white man, has become a worldwide symbol for Disco which was a cultural moment intimately connected to queer communities and bodies of colour, a hugely political movement that was co-opted by popular culture. This particular work featured in Hamilton’s first institutional exhibition in Britain, <i>Sorry I’m Late</i>, at Firstsite Gallery, Colchester in 2012 and was included in her exhibition <i>The New Life</i> at Vienna Secession in 2018.</p>\n<p>Hamilton is known for her often-humorous sculptures, installations and performances. Her works draw on themes as diverse as pop culture, 1970s disco music, food, lichen, Japanese Kabuki Theatre, architecture, fashion, design and art history (see also <i>Leg Chair (Cigarettes) </i>2014, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hamilton-leg-chair-cigarettes-t15256\" title=\"View the details of this artwork\"><span>T15256</span></a>). Much of her work focuses on the resolution of the contradictory dynamic between two and three dimensions, combining sculpture with poster and advertising-style images, as seen in <i>Karl Lagerfeld Bean Counter</i>. They are often irreverent and surreal in their final realisation, but are precisely constructed, multi-layered objects that can be read and presented in many different contexts. She has described the process of developing her work, explaining that: ‘My work grew into these collages or assemblages … It was a way of storyboarding ideas, of constructing a narrative through images and materials. I draw from popular culture, art history and my personal life. You can have as much of it as you can manage.’ (Quoted in ‘Interview: Turner Prize Nominee Anthea Hamilton’ <i>Financial Times</i>, 11 November 2016, https://www.ft.com/content/bd4d502e-a4df-11e6-8898-79a99e2a4de6, accessed 30 November 2018.)</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Anthea Hamilton: Sorry I’m Late</i>, exhibition catalogue, Firstsite, Colchester 2012.<br/>‘Anthea Hamilton’, in <i>Turner Prize 2016</i>, exhibition catalogue, Tate Britain, London 2016.</p>\n<p>Linsey Young<br/>October 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-08-14T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1978", "fc": "Anthea Hamilton", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/anthea-hamilton-4789" } ]

[ { "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 November 2016 – 31 August 2025", "endDate": "2025-08-31", "exhibitionLegs": [ { "dateText": "10 November 2023 – 14 April 2024", "endDate": "2024-04-14", "id": 14116, "startDate": "2023-11-10", "venueName": "LWL-Landesmuseum für Kunst und Kulturgeschichte Westfälisches (Munster, Germany)", "venueWebsiteUrl": "http://landesmuseum.lwl.org" }, { "dateText": "1 April 2025 – 31 August 2025", "endDate": "2025-08-31", "id": 15578, "startDate": "2025-04-01", "venueName": "External", "venueWebsiteUrl": null } ], "id": 8136, "startDate": "2016-11-05", "title": "Nude: art from the Tate collection", "type": "Tate partnerships & programmes" }, { "artistRoomsTour": false, "dateText": "17 February 2022 – 15 May 2022", "endDate": "2022-05-15", "exhibitionLegs": [ { "dateText": "17 February 2022 – 15 May 2022", "endDate": "2022-05-15", "id": 14792, "startDate": "2022-02-17", "venueName": "Museum van Hedendaagse Kunst Antwerpen (Antwerp, Belgium)", "venueWebsiteUrl": null } ], "id": 12167, "startDate": "2022-02-17", "title": "Anthea Hamilton", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Leg Chair (Cigarettes)</i> 2014 is one of a series of ten acrylic chairs that Hamilton began in 2009, based on her own body. Each chair has a different theme including the actress Jane Birkin, sushi, and the 1985 film of E.M. Forster’s novel <i>Room with a View</i> (1908). <i>Leg Chair (Cigarettes)</i> is formed of a metal stand and seat that is flanked by a pair of black acrylic legs based on Hamilton’s own. They extend at an angle, the toes poised on the floor as if someone were sitting on the chair looking toward the viewer; the stand beneath takes the form of two oversized cigarettes. The sculpture recalls the infamous photograph of the model Christine Keeler, taken by Lewis Morley in 1963, in which she posed apparently nude sitting astride a plywood Arne Jacobsen chair, the back of which however obscured most of her torso. </p>\n<p>Hamilton’s series of <i>Leg Chairs </i>can be said to relate to design history, not just the Jacobsen chair but also the work of the Italian designer Gaetano Pesce whose ‘Study for a door’ Hamilton remade for her <i>Turner Prize</i> exhibition at Tate Britain, London in 2016. The chairs also recall British pop artist Allen Jones’s (born 1937) sculptures of women taking the form of furniture (see, for example, <i>Chair </i>1969, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/jones-chair-t03244\" title=\"View the details of this artwork\"><span>T03244</span></a>). However, in Hamilton’s chairs the body that appears in the artist’s own and, as a black woman, she has spoken of the importance of inserting the black female body into the museum and so into public view. </p>\n<p>Hamilton is known for her often-humorous sculptures, installations and performances. Her works draw on themes as diverse as pop culture, 1970s disco music, food, lichen, Japanese Kabuki Theatre, architecture, fashion, design and art history. Much of her work focuses on the resolution of the contradictory dynamic between two and three dimensions, combining sculpture with poster and advertising-style images, as seen for example in <i>Karl Lagerfeld Bean Counter</i> 2012 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/hamilton-karl-lagerfeld-bean-counter-t15255\" title=\"View the details of this artwork\"><span>T15255</span></a>) and <i>Wrestler Kimono </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/hamilton-wrestler-kimono-t14114\" title=\"View the details of this artwork\"><span>T14114</span></a>). They are often irreverent and surreal in their final realisation, but are precisely constructed, multi-layered objects that can be read and presented in many different contexts. She has described the process of developing her work, explaining that: ‘My work grew into these collages or assemblages … It was a way of storyboarding ideas, of constructing a narrative through images and materials. I draw from popular culture, art history and my personal life. You can have as much of it as you can manage.’ (Quoted in ‘Interview: Turner Prize Nominee Anthea Hamilton’ <i>Financial Times</i>, 11 November 2016, <a href=\"https://www.ft.com/content/bd4d502e-a4df-11e6-8898-79a99e2a4de6\">https://www.ft.com/content/bd4d502e-a4df-11e6-8898-79a99e2a4de6</a>, accessed 30 November 2018.)</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Anthea Hamilton: Sorry I’m Late</i>, exhibition catalogue, Firstsite, Colchester 2012.<br/>‘Anthea Hamilton’, in <i>Turner Prize 2016</i>, exhibition catalogue, Tate Britain, London 2016.</p>\n<p>Linsey Young<br/>October 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-08-14T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1931 – 2019", "fc": "Huguette Caland", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/huguette-caland-26550" } ]

[ { "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": "20 June 2022 – 18 June 2023", "endDate": "2023-06-18", "exhibitionLegs": [ { "dateText": "4 July 2022 – 18 June 2023", "endDate": "2023-06-18", "id": 14886, "startDate": "2022-07-04", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 12237, "startDate": "2022-06-20", "title": "Huguette Caland", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "18 February 2025 – 22 August 2025", "endDate": "2025-08-22", "exhibitionLegs": [ { "dateText": "18 February 2025 – 22 August 2025", "endDate": "2025-08-22", "id": 15599, "startDate": "2025-02-18", "venueName": "Museo Nacional Centro de Arte Reina Sofia (Madrid, Spain)", "venueWebsiteUrl": null } ], "id": 12798, "startDate": "2025-02-18", "title": "Huguette Calend 1964 - 2013", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Face to Face </i>(Tête à Tête) 1971 is part of a series of kaftans made by the painter Huguette Caland in Paris during the 1970s. Caland often wore kaftans of her own design, which foregrounded the artist’s own relationship to the body and the female form. As with most of her paintings and drawings (see, for example, <i>Body Parts</i> 1973 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/caland-body-parts-t15207\" title=\"View the details of this artwork\"><span>T15207</span></a>), the kaftans combined abstracted images of the body; however, in this particular case, Caland focused on designing facial characteristics such as lips and eyes in more detail. The pattern on the fabric evokes the soft lines of two figures. The design shows two faces gently touching, with their lips almost kissing. Using two highly contrasting shades of yellow and blue for the eyes, Caland amplifies the connection of the two bodies and the erotic element of the composition. The graphic nature of the design also links to Caland’s simple linear drawings where forms suggestive of body parts collide (see, for example, the ten drawings in the <i>Flirt Series </i>1972, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/caland-flirt-i-t15164\" title=\"View the details of this artwork\"><span>T15164</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/caland-flirt-x-t15173\" title=\"View the details of this artwork\"><span>T15173</span></a>). The kaftan is positioned on a black, wooden model, which Caland also designed. The model shows two tightly connected heads, with one eye each, facing the opposite direction. This sculptural installation is a rare example in which the artist employed diverse formats and media to comment on the body and the nature of erotic relationships, which are common themes in her output.</p>\n<p>Caland has observed that the period of the 1970s and 1980s that she spent in Paris was her ‘most productive time’ as a result of being socially isolated in a new city (quoted in Abillama and Tomb 2012, p.317). She has also stated that she created her most important works during this period. Set against a backdrop of the feminist art movements that emerged in the 1970s, works such as this kaftan take into consideration the politics of representing the female body, sexuality and desire, an interest that Caland mapped onto her own body and introduced to her immediate surroundings.</p>\n<p>In her works of the 1970s Caland experimented with colour, line and form. Her abstract compositions echo the colour fields of abstract expressionism, while presenting their own distinctive play on pictorial representation and personal abstraction. From the mid-1970s onwards Caland withdrew from abstraction altogether, so that sometimes what was uncannily suggestive in an earlier work becomes explicit in a later one. Instead of biomorphic forms, colour fields and lines, Caland explored the physicality of the body, focusing on distinct elements such as eyes, lips, breasts and faces in profile, painted, drawn or designed with a delicate, soft touch. <i>Face to Face</i> is representative of these attitudes in her practice. It sits within a tradition of closely cropped images where body parts fill the frame, an approach that recalls the modernist photography of artists such as Max Burchartz (1887–1961) and Man Ray (1890–1976). The three-dimensional element of the kaftan when worn or displayed on a stand brings to the fore the relationships between forms and their sculptural qualities. Pre-eminent French fashion designer Pierre Cardin was an admirer of Caland’s kaftans and in 1974 Cardin and Caland collaborated on the production of a collection for his fashion label.</p>\n<p>\n<b>Further reading</b>\n<br/>Nour Salame Abillama and Marie Tomb, ‘Huguette Caland’, in <i>Art from Lebanon: Modern and Contemporary Artists 1880–1975</i>, vol.1, Beirut 2012.<br/>Dana Goodyear, ‘The Playful Provocations (and Erotic Kaftans) of the Lebanese Artist Huguette Caland’, <i>The New Yorker</i>, 7 June 2017, <a href=\"https://www.newyorker.com/culture/culture-desk/the-playful-provocations-and-erotic-kaftans-of-the-lebanese-artist-huguette-caland\">https://www.newyorker.com/culture/culture-desk/the-playful-provocations-and-erotic-kaftans-of-the-lebanese-artist-huguette-caland</a>, accessed November 2017.</p>\n<p>Vassilis Oikonomopoulos<br/>November 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-08-14T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>By making kaftans, Caland could take her artworks onto the streets of Paris. Her kaftans often depict the body, but here she shows two faces coming together. This is reversed in the head of the wooden mannequin. Inspired by the abaya, traditional Arabic dress, kaftans asserted Caland’s Lebanese identity while living in France. They came to reflect the popularity of floating androgynous clothing in high fashion. In 1979 Caland designed a line of kaftans titled ‘<i>nour</i>’ (‘light’ in Arabic) for the fashion designer Pierre Cardin. </p>\n</div>\n", "display_name": "Display caption", "publication_date": "2022-11-02T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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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" } ]

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[ { "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" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Figure in Raw Umber</i> 2018 is a large drawing in pastel on paper of a young black woman with close-cropped hair whose body twists towards the viewer as she gazes defiantly outwards. The drawing has been rendered using only two colours: raw umber, as suggested by the work’s title, and black, used sparingly to define creases in the model’s clothing. The skin is treated tonally, creating sensual depth through shading and smudging of pastel, while the body is rendered through quick broken lines that convey dynamic movement. In describing her process, Johnson has said: </p>\n<p class=\"cttext\">\n</p><blockquote>Pushing the pastels around on oversized sheets forces me to build the forms in a physical process that is almost at the limits of my capacity. Being slightly out of control of the process, through working on the wall rather than on an easel, having the sitter behind rather than in front of me, helps to keep an element of struggle in the drawings. <br/>(In Hollybush Gardens 2016, p.7.)</blockquote>\n<p>The work was drawn mostly from life in the artist’s studio in East London, occasionally supplemented by working from photographs. The sitter is Beverly Bennett, an artist who has been posing regularly for Johnson since she was introduced to her by the artist Sonia Boyce in 2014. Beverly also appears in the earlier drawing <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>).</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 <span>T15262</span>, and <i>Standing Figure with African Masks </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-standing-figure-with-african-masks-t15143\" title=\"View the details of this artwork\"><span>T15143</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": "2019-08-14T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[]

[ { "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" } ]

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[]

[ { "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" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Seated Figure I</i> 2018 is a large drawing in acrylic paint and pastel on white watercolour paper of the head and torso of a young black woman with close-cropped hair; her eyes are downcast, apparently focused on a task in front of her. The figure is set against a geometric background made up of variations of tiled blue rectangles. The only other colour used in the drawing is bright yellow, for the sitter’s undershirt; the sleeves of her cardigan are rendered simply with a few black lines against the white paper. In contrast, the sitter’s skin is rendered tonally using only black pastel. The subject is Beverly Bennett, an artist who has been posing regularly for Johnson since she was introduced to her by the artist Sonia Boyce in 2014. Beverly also appears in the drawing <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>). <i>Seated Figure I</i> was first exhibited in Johnson’s solo exhibition at Hollybush Gardens, London in 2017. In her review for <i>frieze</i> magazine, the writer and artist Sonya Dyer described the drawing as featuring ‘fluid lines that intimate the curves of [the sitter’s] body without sexualization. The sitter never meets our gaze, nor is she particularly bashful; we bear witness to her everyday movements.’ (Dyer 2017, accessed 15 October 2018.)</p>\n<p>Johnson has been making larger than life drawings of Black women since the early 1980s (see also <i>Standing Figure with African Masks </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-standing-figure-with-african-masks-t15143\" title=\"View the details of this artwork\"><span>T15143</span></a>, and <i>Figure in Raw Umber </i>2018, Tate <span>T15261</span>). 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": "2019-08-14T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1743–1791", "fc": "William Parry", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/william-parry-28736" } ]

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[ { "artistRoomsTour": false, "dateText": "26 September 2022", "endDate": null, "exhibitionLegs": [ { "dateText": "26 September 2022", "endDate": null, "id": 13326, "startDate": "2022-09-26", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 10976, "startDate": "2022-09-26", "title": "Gallery 15", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This three-quarters portrait depicts the artist’s father, the Welsh musician John Parry (?1710–1782). Framed by a feigned oval painted in the foreground and dressed in a royal-blue jacket and powdered wig, he is shown holding a ‘Welsh harp’ or triple harp – recognisable by its three parallel rows of strings. Its inclusion signifies his profession and reputation: John Parry was acclaimed as ‘the famous blind Harper’ (<i>Daily Advertiser and Morning Herald,</i> 26 November 1782), performing regularly in London and across the country during the mid-eighteenth century. </p>\n<p>William Parry painted several portraits of his father, including two now in the National Museum of Wales, Cardiff. These earlier paintings, dating from the 1770s, show him absorbed in playing the harp. In this picture, however, it is notable that he is <i>not </i>shown actively making music. Although it was more common to show professionals playing their instruments, polite portraits conventionally showed sitters with instruments resting nearby. By representing him paused in thought, William Parry elevates his father’s status by portraying his music-making as an intellectual rather than purely sensory or professional activity.</p>\n<p>By painting his father’s eyes closed, Parry signals the musician’s blindness. This was a conventional way of indicating an unsighted sitter in the eighteenth century; here it sympathetically alludes to John Parry’s visual impairment as a distinguishing characteristic. In this, the picture is comparable to Nathaniel Hone’s (1718–1784) portrait of the magistrate Sir John Fielding of 1762 (National Portrait Gallery, London), whose blindness was integral to his public image as a law enforcer. By positioning the harp in the foreground of the picture, with his father’s hands prominently placed on top and strongly lit, Parry also emphasises his ability to perceive the world through touch and sound. This multisensory representation of music-making, which bears comparison with Martin Quadal’s (1736–1808) <i>Portrait of a Man Playing a Flute</i> 1777 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/quadal-portrait-of-a-man-playing-a-flute-t14193\" title=\"View the details of this artwork\"><span>T14193</span></a>), reflects the changing perception of visual impairment during the eighteenth century. Blindness was increasingly understood in physical rather than spiritual terms, prompting a growing interest in the experience of sightlessness and its impact upon cognition.</p>\n<p>The picture is also testament to the growing interest in Welsh history and culture among British antiquarians and fashionable society during the eighteenth century. By presenting John Parry deep in contemplation rather than actively playing, the poetic and other-worldly nature of music is evoked. Through this he is aligned with the romantic image of the Welsh bard, a figure that had gained significance as a symbol of the ancient poetic tradition and source of Welsh pride. This association is particularly apt given that John Parry played and published traditional Welsh music and was the inspiration for Thomas Gray’s popular poem <i>The Bard </i>(1757), which in turn inspired artists such as Benjamin West (1738–1820) and William Blake (1757–1827).</p>\n<p>William Parry was born in London and trained under Sir Joshua Reynolds (1923–1792). Following this, he spent most of his working life in Wales (except for tours in Italy), where he exploited the patronage and connections obtained through his family’s close relationship with the Williams Wynn family, the most wealthy and influential landowners in Wales. This picture was likely painted in Wales for Sackville Gwynne (c.1751–1794), a Welsh landowner and amateur harpist taught by John Parry. Historically, the inscription on the back of the canvas, reading ‘S. Gwynne’, led to the mistaken assumption that he was the subject of the picture as well. The picture cannot be dated firmly, although it may be the painting shown by Parry at the Royal Academy in 1787, as a posthumous tribute to his father. The sitter’s age and physical appearance is close to William Parry’s other portraits of his father painted in the 1770s.</p>\n<p>\n<b>Further reading</b>\n<br/>Peter Lord, <i>The Visual Culture of Wales: Imaging the Nation, </i>Cardiff 2000, pp.124–7.<br/>Miles Wynn Cato, <i>Parry: The Life and Works of William Parry A.R.A. (1743–1791), </i>Aberystwyth 2008, catalogue no.98, reproduced p.100.<br/>Georgina Cole, ‘Rethinking Vision in Eighteenth-century Paintings of the Blind’, in Harald Klinke (ed.),<i> Art Theory as Visual Epistemology</i>, Cambridge 2014, pp.47–64.</p>\n<p>Alice Insley<br/>January 2019</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-08-15T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This portrait shows the celebrated Wesh musician John Parry, sensitively painted by his son William Parry. John Parry’s reputation as ‘the famous blind Harper’ is visualised here – he is shown with his eyes closed (as was conventional for blind sitters) and holding a Welsh triple harp. Rather than playing this instrument, John’s hands rest on top and he appears lost in thought. This may allude to his perception of the world through his other senses, like touch and sound. John’s deep contemplation also evokes the poetic, other-worldly nature of music, associating him with the popular, romantic image of the Welsh bard. This might be the portrait William Parry exhibited in 1787 as a posthumous tribute to his father. </p>\n</div>\n", "display_name": "Display caption", "publication_date": "2023-10-26T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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[ { "append_role_to_name": false, "date": "born 1954", "fc": "Lubaina Himid CBE RA", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/lubaina-himid-cbe-ra-2356" } ]

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[ { "artistRoomsTour": false, "dateText": "2 December 2019 – 30 July 2020", "endDate": "2020-07-30", "exhibitionLegs": [ { "dateText": "2 December 2019 – 30 July 2020", "endDate": "2020-07-30", "id": 13174, "startDate": "2019-12-02", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 10852, "startDate": "2019-12-02", "title": "Lubaina Himid Spotlight", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "25 November 2021 – 5 February 2023", "endDate": "2023-02-05", "exhibitionLegs": [ { "dateText": "24 November 2021 – 2 October 2022", "endDate": "2022-10-02", "id": 14146, "startDate": "2021-11-24", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" }, { "dateText": "3 November 2022 – 5 February 2023", "endDate": "2023-02-05", "id": 14683, "startDate": "2022-11-03", "venueName": "Musée Cantonal des Beaux-Arts, Lausanne / Plateforme 10, Lausanne (Lausanne, Switzerland)", "venueWebsiteUrl": null } ], "id": 11682, "startDate": "2021-11-25", "title": "Lubaina Himid", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "3 November 2022 – 5 February 2023", "endDate": "2023-02-05", "exhibitionLegs": [ { "dateText": "3 November 2022 – 5 February 2023", "endDate": "2023-02-05", "id": 14719, "startDate": "2022-11-03", "venueName": "Musée Cantonal des Beaux-Arts, Lausanne / Plateforme 10, Lausanne (Lausanne, Switzerland)", "venueWebsiteUrl": null } ], "id": 12116, "startDate": "2022-11-03", "title": "Lubaina Himid", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Freedom and Change</i> 1984 is a large installation that has at its centre an image painted onto a pink bed sheet. The sheet is hung against the wall from a rod so that the bottom of the fabric just touches the floor. Additional painted plywood elements to left and right complete the work. The central image depicts two black women dancing or running barefoot across the cloth, holding hands high in the air as if about to twirl joyfully. The women have short cropped hair and are wearing patchwork dresses – one made of various hues of blue, one black and white – created from small torn pieces of cardboard collaged directly onto the fabric, some recognisable as recycled paper tags and envelopes. One woman throws her head back as she kicks her leg up, the other’s gaze is directed ahead. The artist has explained: ‘The device of placing two black women in a painting together was an early method I used to counteract this assumption that there was only one story <i>and</i> that the black woman never spoke’ (Himid 2013, p.93). That Himid’s subjects wear short-cropped hair and Venus symbol ¿ earrings, which during this period would have suggested lesbian identification, also presents the possibility of a romantic relationship between them.</p>\n<p>The piece appropriates the painting <i>Two Women Running on the Beach (The Race)</i> 1922 by Pablo Picasso (1881–1973; Musée Picasso, Paris): a small neoclassical image of two white women running in ecstacy along a beach, with white dresses slipping down to expose their breasts. In Himid’s version, these figures are replaced with black women and six additional characters are added: a pack of four snarling black dogs to the right, their leads extending into the space of the central painting where they are held by one of the women, and the heads of two bald white men trapped in the sand to the left. These characters are painted onto plywood which has been cut to size and affixed to the wall at ground level a short distance away from the central panel, so that it appears that the women are kicking sand into the face of the white men. According to critic and curator Gilane Tawadros, Himid’s citation of Picasso, celebrated for his appropriation of African tribal masks, reverses the modernist absorption of ‘primitive art’ and claims ownership of the process of ‘gathering and re-using’ (Tawadros 1989, p.122). The artist explained: ‘“Jazz Age” Paris jumped for joy at the “discovery of Africa and her artifacts and stole them … [but] gathering and re-using has always been part of Black creativity.’ (Himid, quoted in ibid., p.121). <i>Freedom and Change</i> not only challenges the relationship between centre and periphery within modernist discourse, it also creates space to celebrate black women’s subjectivity and their relationships with one another. Such themes have characterised Himid’s work throughout her career. The practice of painting figures and other elements of her compositions on wooden ‘cut-outs’ was typical of her early work and can also be seen in <i>The Carrot Piece </i>1985 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/himid-the-carrot-piece-t14192\" title=\"View the details of this artwork\"><span>T14192</span></a>).</p>\n<p>\n<b>Further reading</b>\n<br/>Gilane Tawadros, ‘Beyond the Boundary: The work of Three Black Women Artists in Britain’, <i>Third Text</i>, vol.3, issue 8–9, 1989, pp.121–150.<br/>Lubaina Himid, in conversation with Jane Beckett, ‘Diasporic Unwrappings’, in Marion Arnold and Marsha Meskimmon (eds.),<i> Women, The Arts and Globalization: Eccentric Experience</i>, London 2013, pp.190–222.<br/>Jessica Morgan, <i>Burning Down the House</i>, exhibition catalogue, Gwangju Biennale 2014, p.83<b>.</b>\n<br/>Griselda Pollock, ‘“How the political world crashes in on my personal everyday”: Lubaina Himid’s Conversations and Voices: Towards an Essay about Cotton.com’, <i>Afterall: A Journal of Art, Context and Enquiry</i>, no.43, 2017, pp.18–29.</p>\n<p>Laura Castagnini<br/>April 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>Lubaina Himid’s large installation is a celebration of relationships between women. Two Black women run barefoot along a beach, holding their hands high in the air as if about to twirl joyfully. Appearing to trample two white men trapped in the sand, they run towards the future, holding the leads of a pack of snarling dogs. Himid wrote about this work: ‘Made on a “theatre curtain”, it precedes the drama and romance of running away ... without depicting the reality of running away or the consciousness of a sudden departure on those left behind.’</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2020-08-21T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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[ { "append_role_to_name": false, "date": "born 1952", "fc": "Mona Hatoum", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/mona-hatoum-2365" } ]

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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>Interior/Exterior Landscape</i> 2010 is a room-sized installation. It contains, among other things, a hair-embroidered pillow which depicts flight routes between the cities most visited by Hatoum, a bag constructed from a cut-out print of a world map hanging from a metal coat rack, and a birdcage housing a single hair ball. Each element offers subtle references to Hatoum’s biography and to the history of surrealism, which Hatoum was introduced to as a child through her study of monographs on the artist René Magritte (1898–1967) and her reading of psychoanalytic writing by Carl Jung and Sigmund Freud, among others. The installation also contains a bare steel-framed bed without a mattress to lie down on, with long strands of hair hanging to the floor below like cobwebs, and a stool. In the corner of the room a chair next to the wall is conjoined with a small wooden desk so that the top of its curved back extends above the surface in a way which echoes Magritte’s illustration for the 1938 publication <i>Dictionnaire abrégé du Surréalisme</i> (Abridged Dictionary of Surrealism). Hatoum also references Marcel Duchamp’s (1887–1968) work <i>Why Not Sneeze, Rose Sélavy?</i> 1921, a birdcage filled with marble ‘sugar’ cubes which reflected Duchamp’s interest in the deception of perception. In Hatoum’s small cage, a hairball replaces the cubes. For Hatoum the use of hair is symbolically rich and has strong connections with memory – the Victorian locket, for example, containing a curl of hair from a loved one being a well-known form of keepsake. Although slightly disturbing, the overall effect of the hairballs is not one of revulsion but rather an uncanny evocation that is both delicate and unsettling.</p>\n<p>Throughout her career Hatoum has produced a significant number of works during artist residencies or other work periods abroad, including stays in Brazil, Mexico, Venezuela, Jordan, Italy and France. This peripatetic existence has enabled her to produce a body of work from a distinctively transnational perspective. It is a nomadic lifestyle but not a nomadism informed by a pathos of exile – rather these residencies, situated within specific cultural contexts, have offered Hatoum the opportunity to encounter and explore local crafts and materials. From these experiences she has drawn a deep understanding of the vernacular of a place and its culture, and a sensitivity to the nuanced connotations of diverse materials. <i>Interior/Exterior Landscape</i> 2010 was made for an exhibition at the Beirut Art Center and relates closely to an earlier work called <i>Interior Landscape</i> 2008 which was created at the residency Darat al Funun in Amman, Jordan.</p>\n<p>Curator Ralph Rugoff has argued that Hatoum’s room installations are critical in thinking about how to articulate personal space, like a bedroom, as an extension of identity and cultural belonging: ‘These sculptures imply a degree of alienation and uncertainty – a sense of not fitting in and feeling “at home” – is a crucial of our encounters with art, and integral to its capacity for displacing our readymade ways of relating to the world around us.’ (Ralph Rugoff, ‘Preface’, in <i>The New Décor</i>, exhibition catalogue, Hayward Gallery, London 2010, unpaginated.)</p>\n<p>Yet the work is not in any way straightforwardly autobiographical; throughout her career Hatoum has persistently aimed to elicit emotional and physical responses in the viewer. Her perspective is, curator Frances Morris has noted, ‘grounded on being in-between, belonging in both places and in neither, engaged and yet detached, conditioned by loss and yet empowered by it to create something new’ (Frances Morris, <i>Mona Hatoum</i>, exhibition catalogue, Tate Modern, London 2016, p.7.) The impact of Hatoum’s work lies in this ability to balance the specific and the general, to draw on a particular cultural and political milieu and show how these connect with wider, universal concerns.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Mona Hatoum: The Entire World as a Foreign Land</i>, exhibition catalogue, Tate Modern, London 2000.<br/>\n<i>Mona Hatoum</i>, exhibition catalogue, Hamburger Kunstalle 2004.<br/>Christine Van Assche with Clarrie Wallis (eds.),<i> Mona Hatoum</i>, exhibition catalogue, Tate Modern, London 2016.<br/>Michelle White (ed.),<i> Mona Hatoum: Terra Infirma</i>, exhibition catalogue, The Menil Collection, Houston 2018.</p>\n<p>Clarrie Wallis<br/>August 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2020-01-08T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Hatoum’s work is concerned with themes such as violence, oppression, displacement and exile. <i>Interior/Exterior Landscape </i>presents a series of items that make subtle references to the artist’s biography arranged in a cell-like room. These include a hair-embroidered pillow depicting flight routes between cities Hatoum regularly visits, a bag constructed from a cut-out print of a world map, and a birdcage housing a hairball. This work uses the personal space of a bedroom as an expression of identity and cultural belonging.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2020-01-08T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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[ { "append_role_to_name": false, "date": "born 1976", "fc": "Francis Upritchard", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/francis-upritchard-7285" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Land</i> 2010 is a sculpture comprised of two found and adapted domestic wardrobes on which two figures and a selection of small hats are placed, along with four pieces of silk which are sited and draped at the left and right sides of the wardrobe structure. The silks attached to the structure appear to be hand-dyed and, as such, connect to both craft and fashion histories, while the found and augmented wardrobes the sculptures sit on connect the work to design history. The figures and all of the hats were modelled by the artist from polymer modelling clay and painted bright yellow. The figures, individually titled as <i>The Pair</i>, are a man and woman who are naked other than an oversize cowboy hat that obscures the majority of the man’s face. He has his arm around the woman who crouches slightly so that she is peering under his hat. Placed around the surface of the sculpture, and comparatively large in scale in relation to the figures, are four individual hats titled <i>The Hat of Tyrol</i>, <i>The Top Hat</i>, <i>The Bowler</i> and <i>The Cap</i>, and one set of two joined hats, titled <i>The Pair</i> like the figures. Hats are a recurring form in Upritchard’s work, with more recent examples becoming increasingly elaborate and featuring embellishments such as embroidery and patches.</p>\n<p>Consistent with the artist’s practice, <i>Land</i> presents the viewer with an ambiguous scene that has no easily understood narrative, but instead leads us to devise our own thoughts as to why these figures might be standing here, together and naked, surrounded by these oversized accessories. The pair do not appear particularly alarmed by their predicament, but there is an air of melancholy heightened by their obscured eyes. In this context, the title <i>Land </i>might refer to people who have landed from another environment or to pioneers who, after a long journey, have uncovered a new and strange country. </p>\n<p>Upritchard’s sculptures are made from polymer clay, typically painted in bright colours and often presented on elaborate bases which have been designed by the artist, sometimes in collaboration with the designer Martino Gamper (born 1971). Her characters are often paused mid-gesture and, whether alone or in groups, appear to be involved in a narrative that the audience is not party to. Their scale, colouring and clothing impart an otherworldly quality and their eyes are typically closed or partly shielded, heightening their sense of isolation and separation. Upritchard began to focus on figurative sculpture around 2008 (having previously worked most regularly with found and made objects assembled in reference to historic museum collecting and display) and has talked about using strong, sometimes single colours, such as the yellow used in <i>Land</i>, to impart a futuristic feel. The work’s scale relates to the artist’s own body and her ability to physically manipulate material, preferring to model small objects that are easy to handle. </p>\n<p>The miniature bodies that she meticulously crafts are often clothed in costumes or accessories that heighten the characterisation of the figure; they might, for example, wear long robes reminiscent of historic images of tribespeople or an all-in-one costume that recalls depictions of medieval court jesters. The highly patterned and brightly coloured textiles that she uses, as well as some of the tailoring, is often discussed in terms of the hippy movement of the 1960s. However, the artist has regularly commented that while she grew up in a carefree communal environment, primarily she associates hippies with failure, and that everything embraced and envisioned by the 1960s counterculture either ended unhappily or didn’t actually materialise. Nonetheless, her apparent rejection of these anti-conformist ideals, as expressed in the disenchantment of her sculpted figures, may also disguise a deeper longing for their achievement. </p>\n<p>\n<b>Further reading</b>\n<br/>Francis Upritchard, <i>Mandrake</i>, Douglas Hyde Gallery, Dublin 2013.<br/>\n<i>Francis Upritchard: Jealous Saboteurs</i>, exhibition catalogue, Monash University Museum of Art, Melbourne and City Gallery, Wellington 2016.</p>\n<p>Linsey Young<br/>November 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2019-08-14T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1936", "fc": "Barbara Kasten", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/barbara-kasten-16872" } ]

[ { "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": "2 May 2018 – 14 October 2018", "endDate": "2018-10-14", "exhibitionLegs": [ { "dateText": "2 May 2018 – 14 October 2018", "endDate": "2018-10-14", "id": 11488, "startDate": "2018-05-02", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 9496, "startDate": "2018-05-02", "title": "Shape of Light: 100 Years of Photography and Abstract Art", "type": "Exhibition" } ]