Datasets:

---

bigdata-pw

/

tate

like 4

Follow

BIG data 28

[ { "append_role_to_name": false, "date": "born 1954", "fc": "Thomas Schütte", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/thomas-schutte-2374" } ]

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

[]

[ { "archiveItemCount": 1, "id": 184, "level": 1, "name": "abstraction", "parent_id": 1, "workCount": 8614 }, { "archiveItemCount": 1792, "id": 92, "level": 2, "name": "actions: postures and motions", "parent_id": 91, "workCount": 7319 }, { "archiveItemCount": 0, "id": 95, "level": 2, "name": "adults", "parent_id": 91, "workCount": 20120 }, { "archiveItemCount": 0, "id": 42814, "level": 3, "name": "ceramics", "parent_id": 6729, "workCount": 71 }, { "archiveItemCount": 395, "id": 219, "level": 3, "name": "child", "parent_id": 94, "workCount": 929 }, { "archiveItemCount": 0, "id": 94, "level": 2, "name": "children", "parent_id": 91, "workCount": 2479 }, { "archiveItemCount": 5302, "id": 29, "level": 1, "name": "emotions, concepts and ideas", "parent_id": 1, "workCount": 11114 }, { "archiveItemCount": 391, "id": 221, "level": 3, "name": "figure", "parent_id": 189, "workCount": 1879 }, { "archiveItemCount": 3599, "id": 6729, "level": 2, "name": "formal qualities", "parent_id": 29, "workCount": 8855 }, { "archiveItemCount": 1, "id": 189, "level": 2, "name": "from recognisable sources", "parent_id": 184, "workCount": 3633 }, { "archiveItemCount": 28, "id": 2076, "level": 3, "name": "jug", "parent_id": 170, "workCount": 200 }, { "archiveItemCount": 8916, "id": 6927, "level": 2, "name": "lifestyle and culture", "parent_id": 145, "workCount": 1331 }, { "archiveItemCount": 1455, "id": 195, "level": 3, "name": "man", "parent_id": 95, "workCount": 8998 }, { "archiveItemCount": 0, "id": 42766, "level": 3, "name": "migration", "parent_id": 158, "workCount": 20 }, { "archiveItemCount": 0, "id": 42784, "level": 3, "name": "national identity", "parent_id": 6927, "workCount": 4 }, { "archiveItemCount": 9924, "id": 78, "level": 1, "name": "objects", "parent_id": 1, "workCount": 13647 }, { "archiveItemCount": 0, "id": 91, "level": 1, "name": "people", "parent_id": 1, "workCount": 22072 }, { "archiveItemCount": 4671, "id": 158, "level": 2, "name": "social comment", "parent_id": 145, "workCount": 1913 }, { "archiveItemCount": 0, "id": 145, "level": 1, "name": "society", "parent_id": 1, "workCount": 15153 }, { "archiveItemCount": 644, "id": 270, "level": 3, "name": "standing", "parent_id": 92, "workCount": 2462 }, { "archiveItemCount": 69, "id": 1461, "level": 3, "name": "vase", "parent_id": 170, "workCount": 218 }, { "archiveItemCount": 362, "id": 170, "level": 2, "name": "vessels and containers", "parent_id": 78, "workCount": 1795 }, { "archiveItemCount": 1168, "id": 167, "level": 3, "name": "woman", "parent_id": 95, "workCount": 7942 } ]

[ { "artistRoomsTour": false, "dateText": "9 February 2010 – 7 May 2010", "endDate": "2010-05-07", "exhibitionLegs": [ { "dateText": "9 February 2010 – 17 May 2010", "endDate": "2010-05-17", "id": 5272, "startDate": "2010-02-09", "venueName": "Museo Nacional Centro de Arte Reina Sofia (Madrid, Spain)", "venueWebsiteUrl": null } ], "id": 4416, "startDate": "2010-02-09", "title": "Thomas Schütte", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "25 September 2012 – 2 February 2014", "endDate": "2014-02-02", "exhibitionLegs": [ { "dateText": "5 October 2013 – 2 February 2014", "endDate": "2014-02-02", "id": 7853, "startDate": "2013-10-05", "venueName": "Fondation Beyeler (Riehen/Basel, Switzerland)", "venueWebsiteUrl": "http://www.beyeler.com" } ], "id": 5549, "startDate": "2012-09-25", "title": "Thomas Schütte", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "10 June 2016 – 14 August 2016", "endDate": "2016-08-14", "exhibitionLegs": [ { "dateText": "10 June 2016 – 14 August 2016", "endDate": "2016-08-14", "id": 10297, "startDate": "2016-06-10", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 8511, "startDate": "2016-06-10", "title": "Thomas Schütte", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "29 September 2024 – 18 January 2025", "endDate": "2025-01-18", "exhibitionLegs": [ { "dateText": "29 September 2024 – 18 January 2025", "endDate": "2025-01-18", "id": 15913, "startDate": "2024-09-29", "venueName": "Museum of Modern Art (New York, USA)", "venueWebsiteUrl": null } ], "id": 13053, "startDate": "2024-09-29", "title": "Thomas Schütte", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<p><i>The Strangers</i>\ncomprises a group of nine large glazed ceramic objects representing three human figures, two pieces of luggage and five vases. They are part of a larger group of thirty figures Schütte created in response to a public commission by a department store occupying the Roten Palas, a building with a classical façade next door to the Museum Fridericianum in Kassel. The commission was timed to coincide with the 1992 Documenta exhibition, Documenta IX, and the figures were installed outside on the façade of the building above its pseudo classical columns. Schütte explained: ‘They wanted <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/s/sculpture\" title=\"Glossary definition for 'Sculpture'\"><span>sculpture</span></a> as a logo or traffic sign, but I immediately had this idea of putting people on the roof ... it was ... a very interesting site overlooking this place, and I immediately had this image ... of placing some colourful, static figures on top of the building as a permanent <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/i/installation-art\" title=\"Glossary definition for 'Installation'\"><span>installation</span></a>.’ (Quoted in Lingwood, pp.12-13.) He used terracotta because of the brilliant colours possible in glazing. Each life-sized figure was built up slowly, from the bottom upwards, over a period of seven days. The lower section was created using a rotating template to render it cyclindrical like the base of a pot. The upper sections were modeled in stages using thick wads and strips of clay, concluding with the head, which was sculpted very roughly in one day. Hair and other textures are stylized in the manner of archaic Greek sculpture. The colourful ceramic glaze was also applied quickly, resulting in splodges and drips. Because of their large size, the objects spent a week in the kiln. Each human figure was placed on a round ceramic base to compensate for shrinkage during baking. All the objects are attached to individual steel rectangles screwed to sections of wood to facilitate lifting. Installed out of doors on a balcony or flat roof, they are bolted to steel girders. For indoor installation, special plinths are made following the artist’s instructions. These are simple boxes constructed from plywood or blockboard with a raw unpainted surface. Each plinth is placed on a slightly bigger board standing on short sections of wood. This creates an effect of pallets and packing cases appropriate to the theme of travel and displacement. Schütte has commented:\n<br/>\n<br/></p>\n<blockquote>Basically in 1992 the political dimension was changing every week – and all these issues are still unresolved. What defines a German, the passport, the blood, the country of birth, the language or the mentality?... The question was, are they arriving or departing, are they bringing something or taking something, and why are they here at all? What culture or attitudes or ideas do they carry with them? There is always the feeling that people who come from elsewhere are taking things away; that they are thieves. The eyes are cast down so that the figures have this shameful expression ... I think the luggage defines them as strangers.\n<br/></blockquote>\n<blockquote>(Quoted in Lingwood, p.13.)\n<br/></blockquote>\n<p>\n<br/>Schütte studied under Gerhard Richter (born 1932) and Fritz Schwegler (born 1935) at the Düsseldorf <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/a/academy\" title=\"Glossary definition for 'Academy'\"><span>Academy</span></a> between 1973-81. His earliest works address architectural space, decoration and the construction of theatrical devices for the display of art. Until the mid 1980s his use of the human figure was mainly restricted to generalized silhouettes or cut-outs and <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/r/readymade\" title=\"Glossary definition for 'Readymade'\"><span>readymade</span></a> toy figures, providing generic representations of crowds of people or a reference to scale in a quasi architectural model. When he began modeling more individually expressive figures, Schütte struggled with the properties of the materials. <i>Mann im Matsch</i>\n<i>(Man in Mud)</i> 1982 (collection the artist), Schütte’s earliest <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/f/figurative-art\" title=\"Glossary definition for 'Figurative'\"><span>figurative</span></a> sculpture, consists of a little figure immersed up to its knees in wax, a technical solution to its inability to stand up which became central to its meaning. Such crudely made heads and busts in clay as <i>Mann und Frau (Man and Woman)</i> 1986 (Chantal Crousel Gallery, Paris) and <i>Alain Colas</i> 1989 (Panza Collection, Lugano) include wood and polystyrene elements as an integral part of their <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/portrait\" title=\"Glossary definition for 'Portrait'\"><span>portraiture</span></a>. Other figures created at the end of the 1980s consist of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/c/caricature\" title=\"Glossary definition for 'Caricature'\"><span>caricatured</span></a> heads modeled in Fimo or a similar child’s modeling clay and placed on three-legged supports made of sticks wrapped with old pieces of the artist’s clothing. In <i>United Enemies </i>1993-5 (see Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/schutte-no-title-t07017\" title=\"View the details of this artwork\"><span>T07017</span></a>-9), such figures are installed on cylindrical plinths under glass bell jars.\n<br/>\n<br/>The human figures in <i>Die Fremden</i> mark a departure from Schütte’s earlier works. The manner of their construction emphasizes their status as homogenous, vessel-like objects rather than human subjects. This is accentuated by their installation now at eye-level indoors, where they have the appearance of oversized, glazed skittles or other old-fashioned children’s toys. In juxtaposition with the oversized pots which form part of the work, the human figures (whose features and costume are recognisably non-Western) are equated with them, suggesting that they are exotic objects displayed during the process of shipping from one place to another. At they same time they are sufficiently differentiated to suggest individual personalities. Tate’s group comprises a dark-haired man, a woman whose head is covered by a spotted head-scarf and a blonde-haired child. The remainder of the original group is split between a conference centre in Lübeck and the Museum Fridericianum in Kassel.\n<br/>\n<br/><b>Further reading:</b>\n<br/>Julian Heynen, James Lingwood, Angela Vettese, <i>Thomas Schütte</i>, London 1998, pp.10-14, 98, reproduced pp.100-101 in colour\n<br/><i>Thomas Schütte: Scenewright; Gloria in Memoria; In Medias Res</i>, exhibition catalogue, Dia Center for the Arts, New York 2002\n<br/><i>Thomas Schütte: [figur]</i>, exhibition catalogue, Hamburger Kunsthalle and Würtembergischer Kunstverein, Stuttgart 1994, pp.6, 46-52, reproduced pp18-19 in colour\n<br/>\n<br/>Elizabeth Manchester\n<br/>December 2003\n<br/></p>\n", "display_name": "Summary", "publication_date": "2004-08-18T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "abstraction", "actions: postures and motions", "adults", "ceramics", "child", "children", "emotions, concepts and ideas", "figure", "formal qualities", "from recognisable sources", "jug", "lifestyle and culture", "man", "migration", "national identity", "objects", "people", "social comment", "society", "standing", "vase", "vessels and containers", "woman" ]

[ { "append_role_to_name": false, "date": "1921–2012", "fc": "Peter de Francia", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/peter-de-francia-985" } ]

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

[]

[ { "archiveItemCount": 413, "id": 177, "level": 2, "name": "actions: expressive", "parent_id": 91, "workCount": 2209 }, { "archiveItemCount": 1792, "id": 92, "level": 2, "name": "actions: postures and motions", "parent_id": 91, "workCount": 7319 }, { "archiveItemCount": 0, "id": 95, "level": 2, "name": "adults", "parent_id": 91, "workCount": 20120 }, { "archiveItemCount": 513, "id": 1325, "level": 3, "name": "black", "parent_id": 179, "workCount": 283 }, { "archiveItemCount": 273, "id": 678, "level": 3, "name": "boat - non-specific", "parent_id": 161, "workCount": 1930 }, { "archiveItemCount": 4241, "id": 179, "level": 2, "name": "ethnicity", "parent_id": 91, "workCount": 632 }, { "archiveItemCount": 291, "id": 799, "level": 3, "name": "group", "parent_id": 97, "workCount": 3936 }, { "archiveItemCount": 415, "id": 97, "level": 2, "name": "groups", "parent_id": 91, "workCount": 4741 }, { "archiveItemCount": 1455, "id": 195, "level": 3, "name": "man", "parent_id": 95, "workCount": 8998 }, { "archiveItemCount": 0, "id": 42766, "level": 3, "name": "migration", "parent_id": 158, "workCount": 20 }, { "archiveItemCount": 0, "id": 91, "level": 1, "name": "people", "parent_id": 1, "workCount": 22072 }, { "archiveItemCount": 4671, "id": 158, "level": 2, "name": "social comment", "parent_id": 145, "workCount": 1913 }, { "archiveItemCount": 0, "id": 145, "level": 1, "name": "society", "parent_id": 1, "workCount": 15153 }, { "archiveItemCount": 644, "id": 270, "level": 3, "name": "standing", "parent_id": 92, "workCount": 2462 }, { "archiveItemCount": 185, "id": 712, "level": 3, "name": "talking", "parent_id": 177, "workCount": 417 }, { "archiveItemCount": 472, "id": 161, "level": 2, "name": "transport: water", "parent_id": 145, "workCount": 7543 } ]

[ { "artistRoomsTour": false, "dateText": "26 June 2006 – 17 December 2006", "endDate": "2006-12-17", "exhibitionLegs": [ { "dateText": null, "endDate": null, "id": 3049, "startDate": null, "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 2635, "startDate": "2006-06-26", "title": "de Francia", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "1 July 2006 – 18 December 2006", "endDate": "2006-12-18", "exhibitionLegs": [ { "dateText": "1 June 2006 – 31 March 2007", "endDate": "2007-03-31", "id": 2971, "startDate": "2006-06-01", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 2632, "startDate": "2006-07-01", "title": "Peter de Francia", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "29 April 2022 – 25 September 2022", "endDate": "2022-09-25", "exhibitionLegs": [ { "dateText": "29 April 2022 – 25 September 2022", "endDate": "2022-09-25", "id": 14868, "startDate": "2022-04-29", "venueName": "Hastings Contemporary (Hastings, UK)", "venueWebsiteUrl": null } ], "id": 12225, "startDate": "2022-04-29", "title": "Seafaring", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<p>The imagery of this large three-panel painting, or triptych, is taken from the artist’s memory of an incident he witnessed while travelling around the Maghreb, Algeria, in 1964. ‘[<i>The Emigrants</i>] was prompted by my hearing a story-teller on a ship telling a story to a group or groups of North Africans going to Africa,’ de Francia has explained. ‘To me, it felt as though it had something Homeric about it.’ (Quoted in Dodd, p.8.) \n<br/>\n<br/>This work’s panels, which each measure almost three metres in height, are designed to be read in sequence: ‘I think of the triptych form like chapters of a book’, the artist has said (quoted in Dodd, p.8). The scenes are loosely painted in large, angular areas of colour. Each one is dominated by a small cluster of figures standing on the deck of a ship. In the left panel, two young men – one facing the viewer and one in profile – are shown idly leaning against a rail. The colours are clear and bright, suggesting daytime. The scene in the middle panel is compositionally more complex than the first and, because of the darkening sky, appears to take place later in the day. In it, an old man, who wears a pink scarf that blows wildly in the wind, sits between two young men and gestures emphatically. The youth on his left has closed eyes and a sallow pallor, reminding us of the arduousness of the voyage the travellers are making. In the right-hand panel, the old man, his scarf now yellow and swirling, sits with one younger man. In this scene, the darker and more muted palette and deepening shadows on faces indicate that night has fallen. The old man gazes directly at the youth and points to him with his index finger.\n<br/>\n<br/><i>The Emigrants</i> is related to a group of works the artist began in the later 1950s that were critical of France’s involvement in North Africa. Of principal importance in this regard is <i>The Bombing of Sakiet</i> 1959 (L02458), which records the attack on the Tunisian village of Sakiet Sidi Youssef by the French air force in 1958. In this work, de Francia produced a<i> </i>scene of violence and destruction. In contrast, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/de-francia-the-emigrants-t07980\" title=\"View the details of this artwork\"><span>T07980</span></a>, which deals with story-telling amongst travellers returning to Africa, focuses on oral tradition as a moment of transition between the old and young and so points to the survival of indigenous culture.\n<br/>\n<br/>Interviewed about <i>The Emigrants</i> in 2006, de Francia explained: \n<br/></p>\n<blockquote>The presence of listeners and one orator is an attempt to bring the subject matter into the twentieth century and ... it aims, or probably aims, at employing a situation that is at the same time immensely old. The figures of the first two panels have resolutely nothing to do with the past, but the old man is both contemporary and archaic – that is what I found so fascinating. </blockquote>\n<blockquote>(Quoted in Dodd, p.9.)</blockquote>\n<p>\n<br/>In terms of its ambition and size, <i>The Emigrants</i> is one of the major works of de Francia’s early to mid career. This artist’s characteristic concern with ordinary people and everyday circumstances has aligned him to some extent with the so-called Kitchen Sink artists of mid 1950s to early 1960s Britain, but his art differs from that group in its more overt political content. An Anglo-Italian, de Francia, grew up in France, studied art in Brussels and, after the Second World War, made extended visits to Italy. His work of this period falls within a tradition of politically-engaged European realism. In particular, his imagery has elements of the direct manner and socialist message of the art of the Italian painter Renato Guttuso (1912–87), whom he knew and admired. In terms of its style and format, <i>The Emigrants </i>is reminiscent of the work of the German artist Max Beckmann (1884–1950), who also painted triptychs (see, for example, <i>Departure </i>1932–3, Museum of Modern Art, New York).\n<br/>\n<br/><b>Furt</b></p>", "display_name": "Summary", "publication_date": "2010-12-16T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<p><span>The painting comprises of medium weight linen canvases, which have been primed by the artist. The primer does not extend to the cut edge of the fabric and quite yellow suggesting the binding medium to be oil. In places the primer has seeped through the canvases to the reverse. </span>\n<br/>\n<br/><span>The paint has been applied using a broad headed brush in a free and spontaneous manner. Some of the lower layers of oil paint have been rubbed down before additional paint has been applied, again reinforcing the idea that the composition has been created fairly spontaneously. The composition has been painted using flat planes of colour creating quite crude tonality and an angular sense of mass, reflection and shadow. In some places layers have been applied wet-in-wet, for example left panel, in the green of the left figure’s trousers. Areas of the primer are left exposed giving additional depth to highlights in the whites of the figures’ eyes and in the gleaming black-painted metal of the capstans. </span>\n<br/>\n<br/><span>All three paintings have been varnished with a matte varnish in 1987, according to an inscription on the reverse written by the artist. </span>\n<br/>\n<br/><span>The paintings are generally in a good condition with minor defects and deformations to the canvases caused by mechanical damage but generally they are in good condition.</span>\n<br/>\n<br/><span>Rachel Barker</span>\n<br/><span>April 2003</span>\n<br/>\n<br/></p>\n", "display_name": "Technique and condition", "publication_date": "2003-10-10T00:00:00", "slug_name": "technique-and-condition", "type": "TECHNIQUE_AND_CONDITION_TEXT" } ]

[ "actions: expressive", "actions: postures and motions", "adults", "black", "boat - non-specific", "ethnicity", "group", "groups", "man", "migration", "people", "social comment", "society", "standing", "talking", "transport: water" ]

[ { "append_role_to_name": false, "date": "1924–2005", "fc": "Sir Eduardo Paolozzi", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/sir-eduardo-paolozzi-1738" } ]

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

[]

[ { "archiveItemCount": 1, "id": 184, "level": 1, "name": "abstraction", "parent_id": 1, "workCount": 8614 }, { "archiveItemCount": 5302, "id": 29, "level": 1, "name": "emotions, concepts and ideas", "parent_id": 1, "workCount": 11114 }, { "archiveItemCount": 3599, "id": 6729, "level": 2, "name": "formal qualities", "parent_id": 29, "workCount": 8855 }, { "archiveItemCount": 214, "id": 226, "level": 3, "name": "geometric", "parent_id": 185, "workCount": 2858 }, { "archiveItemCount": 1, "id": 185, "level": 2, "name": "non-representational", "parent_id": 184, "workCount": 6160 }, { "archiveItemCount": 54, "id": 8577, "level": 3, "name": "texture", "parent_id": 6729, "workCount": 412 } ]

[ { "artistRoomsTour": false, "dateText": "8 December 2012 – 24 February 2013", "endDate": "2013-02-24", "exhibitionLegs": [ { "dateText": "8 December 2012 – 24 February 2013", "endDate": "2013-02-24", "id": 7169, "startDate": "2012-12-08", "venueName": "Firstsite (Colchester, UK)", "venueWebsiteUrl": "http://www.firstsite.uk.net/" } ], "id": 5857, "startDate": "2012-12-08", "title": "Hammer Prints 1954-61", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "21 November 2014 – 4 October 2015", "endDate": "2015-10-04", "exhibitionLegs": [ { "dateText": "21 November 2014 – 4 October 2015", "endDate": "2015-10-04", "id": 8618, "startDate": "2014-11-21", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 7068, "startDate": "2014-11-21", "title": "New Brutalist Image 1949-1955", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "14 February 2017 – 15 May 2017", "endDate": "2017-05-15", "exhibitionLegs": [ { "dateText": "14 February 2017 – 15 May 2017", "endDate": "2017-05-15", "id": 10944, "startDate": "2017-02-14", "venueName": "Whitechapel Gallery (London, UK)", "venueWebsiteUrl": "http://www.whitechapel.org/" } ], "id": 9028, "startDate": "2017-02-14", "title": "Eduardo Paolozzi", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<i>Collage Mural</i> is made up of two wooden panels that together extend over almost five metres in width. The surface of the panels is almost entirely covered with a collage made up of fragments of paper decorated in paint, ink and silkscreen prints of abstracted and geometric designs. Paolozzi has abandoned distinctions between foreground and background in favour of an all-over pattern of vertical and horizontal lines, rectilinear shapes and loose and uneven grids. Without a focal point, the pattern has the potential to extend limitlessly in any direction. The design is predominantly sepia with black patterns, interspersed with flecks of red, and, in the central area, a block of red and of green. The work is signed ‘E.P.’ and dated ‘Aug. 1952’, on the bottom edge of the left hand panel.\r\n<br/>\n<br/>The mural was commissioned from Paolozzi by modernist architects Jane Drew and Edwin Maxwell Fry for the offices of their firm, Fry, Drew and Partners, in London. A photograph of the work in situ (reproduced in Kirkpatrick, p.41), shows the mural displayed on a wall in a utilitarian space. In this location the abstract forms of the collage mirror the haphazard ‘collage’ created by the typical paper paraphernalia of the office environment: strewn documents, manuals and signs pinned to a noticeboard. In the autumn of 1952, Paolozzi decorated a ceiling of the offices of civil engineer Ronald Jenkins in Charlotte Street, London, with a screen-printed design, and allowed the decorators to put up the rolls of paper randomly. \r\n<br/>\n<br/>Known particularly as a sculptor, Paolozzi nevertheless made collage an integral component of his output throughout his career. In an early work in this medium, <i>Fisherman and Wife</i> 1946 (<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/paolozzi-fisherman-and-wife-t00274\" title=\"View the details of this artwork\"><span>T00274</span></a>), Paolozzi used coloured paper and ink to represent two crude figures in a composition evocative of Cubism. He began seriously working in collage when he was living in Paris in the late 1940s (he registered at the Ecole des Beaux Arts in 1947 and stayed in Paris until 1949). Paolozzi’s works in this medium were influenced by the torn paper collages of Jean Arp (1886–1966), founder member of the Dada movement in Zurich, whom he would meet in Paris in 1948, and the work of German artist <a href=\"http://tg-solnet/servlet/ArtistWorks?cgroupid=999999961&amp;artistid=1912&amp;page=1\">Kurt Schwitters</a>\n<p> (1887–1948), who had pioneered new techniques of collage from 1918. \r\n<br/>\n<br/>By the early 1950s, Paolozzi was developing the medium in different directions. Dating from around the same time as <i>Collage Mural</i> is the much smaller photocollage <i>Untitled (Study for Parallel of Life and Art)</i> 1952 (<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/henderson-paolozzi-untitled-study-for-parallel-of-life-and-art-t12444\" title=\"View the details of this artwork\"><span>T12444</span></a>), a work that Paolozzi produced in collaboration with the artist Nigel Henderson (1917–85). This collage was made during the conception of the exhibition<i> Parallel of Life and Art</i>, staged at the Institute of Contemporary Art, London, in 1953, and in which Henderson and Paolozzi were involved as organisers. In this work, Paolozzi placed together small photographs of his own sculptures and reliefs in plaster and terracotta, decorated with abstract designs, which evoke in miniature the type of patterning found in <i>Collage Mural</i>. In <i>Man’s Head</i> (<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/paolozzi-mans-head-t00293\" title=\"View the details of this artwork\"><span>T00293</span></a>), from 1952-3, Paolozzi’s deploys similar patterning but in a different way. Using a combination of ink, gouache and chalk on paper, Paolozzi fills the outline of an abstracted head with a variation on the loose, all-over design he uses in the larger mural. \r\n<br/>\n<br/>With <i>Collage</i> 1953 (National Gallery of Scotland, Edinburgh) (reproduced in Pearson, p.25, fig.21) the artist combined fragments of printed material with scraps of his own images, hand-drawn and printed elements, which he placed together in a frieze-like design. However, in the slightly earlier <i>Collage Mural </i>Paolozzi has entirely dispensed with printed ephemera from popular culture, and used only painted and silkscreen printed elements to create its geometric, abstract pattern. Returning to London from Paris in 1949, Paolozzi took a post at the Central School of Arts and Crafts teaching textile design, where he stayed until 1955. During this period he experimented with producing silkscreen prints of drawings and it is likely that he produced the silkscreen-printed components of <i>Collage Mural </i>at the Central School. Paolozzi’s interests in printmaking and design were, in 1954, directed into a formal creative partnership with Nigel Henderson when they set up Hammer Prints, a decorative arts company which produced boldly-designed ceramics, wallpaper and textiles. \r\n<br/>\n<br/><b>Further reading:</b>\n<br/>Diane Kirkpatrick, <i>Eduardo Paolozzi</i>, London 1970, reproduced p.41.\r\n<br/>Fiona Pearson, <i>Paolozzi</i>, National Galleries of Scotland, Edinburgh 1999.\r\n<br/>Robin Spencer, ed., <i>Eduardo Paolozzi: Writings and Interviews</i>, Oxford, 2000.\r\n<br/>\n<br/>Alice Sanger\r\n<br/>December 2008\r\n<br/></p>\n", "display_name": "Summary", "publication_date": "2009-03-12T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "abstraction", "emotions, concepts and ideas", "formal qualities", "geometric", "non-representational", "texture" ]

[ { "append_role_to_name": false, "date": "1930–1985", "fc": "Charlotte Posenenske", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/charlotte-posenenske-11040" } ]

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

[]

[ { "archiveItemCount": 1, "id": 184, "level": 1, "name": "abstraction", "parent_id": 1, "workCount": 8614 }, { "archiveItemCount": 1, "id": 13, "level": 1, "name": "architecture", "parent_id": 1, "workCount": 30959 }, { "archiveItemCount": 1323, "id": 17, "level": 2, "name": "features", "parent_id": 13, "workCount": 7549 }, { "archiveItemCount": 1, "id": 189, "level": 2, "name": "from recognisable sources", "parent_id": 184, "workCount": 3633 }, { "archiveItemCount": 457, "id": 19, "level": 2, "name": "industrial", "parent_id": 13, "workCount": 1618 }, { "archiveItemCount": 143, "id": 222, "level": 3, "name": "man-made", "parent_id": 189, "workCount": 856 }, { "archiveItemCount": 5, "id": 7205, "level": 3, "name": "structure", "parent_id": 19, "workCount": 33 }, { "archiveItemCount": 0, "id": 18546, "level": 3, "name": "vent", "parent_id": 17, "workCount": 5 } ]

[ { "artistRoomsTour": false, "dateText": "19 July 2009 – 5 October 2009", "endDate": "2009-10-05", "exhibitionLegs": [ { "dateText": "19 July 2009 – 5 October 2009", "endDate": "2009-10-05", "id": 4673, "startDate": "2009-07-19", "venueName": "Museum of Modern Art (New York, USA)", "venueWebsiteUrl": null } ], "id": 3928, "startDate": "2009-07-19", "title": "In & Out of Amsterdam", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "10 June 2016 – 16 October 2016", "endDate": "2016-10-16", "exhibitionLegs": [ { "dateText": "10 June 2016 – 16 October 2016", "endDate": "2016-10-16", "id": 10302, "startDate": "2016-06-10", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 8503, "startDate": "2016-06-10", "title": "Between Object and Architecture - West", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Square Tubes [Series D]</i> 1967 is a construction set comprised of six different hollow forms made from galvanised sheet steel. The elements resemble the industrial materials used to form ventilation pipes. These basic components can be combined to create any number of configurations, each unit having a standard opening with a protruding edge that allows them to be bolted together. The number of unit parts incorporated in each iteration of the work is not defined, meaning that they can be fashioned to fit a space, or continued indefinitely. The concept allows a curator or buyer to assemble and change the installation according to his or her own criteria, relinquishing some of the artist’s creative autonomy to others.</p>\n<p>The six elements can be presented standing, lying, hanging or in series. The galvanised steel used in this and other works by Posenenske reflect the increased visibility of industrial materials and methods in architecture and artwork in this period. Yet the robust fabric also meant that arrangements could be displayed beyond the gallery setting. Posenenske photographed various configurations situated in train stations, airports, factories, and other industrial environments. She considered changes to the surface of the materials as welcome – the notations made by craftspeople, graffiti, fingerprints, or weathering were important, representing the passage of time and therefore gesture to the object’s existence in the world.</p>\n<p>The artist produced a similar prototype titled <i>Square Tubes [Series DW] </i>1968 shortly after conceiving of the prototype for this work. This construction set differed in that two pieces were removed from the sequence and the steel was exchanged for corrugated cardboard. Burkhard Brunn, executor of the artist’s estate, has suggested that with this development Posenenske sought to encourage the audience’s contribution to the construction of the artwork, eliminating the need for technicians and skilled craftsmen to fabricate the piece (see Wiehager 2009,<i> </i>p.76).</p>\n<p>In 1968 Posenenske published a statement in <i>Art International</i> in which she makes reference to the reproducibility of her works and her desire for the concept and ownership of the piece to be accessible:</p>\n<p class=\"cttext\">\n</p><blockquote>I make series<br/>because I do not want to make individual pieces for individuals,<br/>in order to have elements combinable within a system,<br/>in order to make something that is repeatable, objective,<br/>and because it is economical.<br/>The series can be prototypes for mass-production.<br/>...<br/>They are less and less recognisable as ‘works of art.’<br/>The objects are intended to represent anything other than what they are.<br/>(Posenenske 1968, p.50.)</blockquote>\n<p>Variability, participation and cooperation are important to the reception of Posenenske’s artistic oeuvre. The sculptural aspects of communication and cooperative usability can be seen in analogy to Posenenske’s radical democratic approach and the discussions of her time about the necessity of social change.</p>\n<p>While other artists of the period were working in multiples, limited to a finite edition, Posenenske worked in series, removing any limitations and paralleling the process of industrial production. For Posenenske the ‘series’ referred to a succession of versions following the same principle, as well as the infinite reproducibility of the archetype and the multiple presentation of the same type of model. The reconstructions are not based on the object itself, but on the concept. Posenenske offered the reconstructions commercially at their material cost. Reconstructions authorised by the artist’s estate are not replicas, and they are outwardly identical to the original prototype. The impassive involvement of the artist in this manner undermines the claim for originality and exclusivity associated with one-of-a-kind objects as well as the subsequent market prices. Only the certificate differentiates these unsigned artworks from other commodity objects.</p>\n<p>In an event held in Frankfurt in 1967, variation and repetition were not just proposed, but actively staged as assistants continually rearranged the constituent pieces of <i>Square Tubes [Series DW]</i>, creating perpetually changing structures.</p>\n<p>\n<b>Further reading</b>\n<br/>Charlotte Posenenske, ‘Statement’, <i>Art International</i>, no.5, May 1968, p.50.<br/>Renate Wiehager (ed.), <i>Charlotte Posenenske, 1930–1985</i>, Berlin 2009.<br/>\n<i>Charlotte Posenenske/Peter Roehr: The Same Thing Another Way/Always the Same Thing</i>, exhibition catalogue, Kunsthaus Wiesbaden, Wiesbaden 2012.</p>\n<p>Thomas Scutt<br/>March 2013</p>\n</div>\n", "display_name": "Summary", "publication_date": "2016-06-13T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Posenenske was interested in industrial methods of production, and produced free standing sculptures which often resemble standardised architectural units. <i>Square Tubes</i> <i>Series D</i>, consists of a number of folded, hollow elements which are joined together to create different shaped pieces, according to the owner’s decision. The tubes can be hung or placed on the floor in numerous configurations, and the physical organisation of the elements can be altered each time they are exhibited</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2016-10-12T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "abstraction", "architecture", "features", "from recognisable sources", "industrial", "man-made", "structure", "vent" ]

[ { "append_role_to_name": false, "date": "1930–1985", "fc": "Charlotte Posenenske", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/charlotte-posenenske-11040" } ]

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

[]

[ { "archiveItemCount": 1, "id": 184, "level": 1, "name": "abstraction", "parent_id": 1, "workCount": 8614 }, { "archiveItemCount": 1, "id": 13, "level": 1, "name": "architecture", "parent_id": 1, "workCount": 30959 }, { "archiveItemCount": 1323, "id": 17, "level": 2, "name": "features", "parent_id": 13, "workCount": 7549 }, { "archiveItemCount": 1, "id": 189, "level": 2, "name": "from recognisable sources", "parent_id": 184, "workCount": 3633 }, { "archiveItemCount": 457, "id": 19, "level": 2, "name": "industrial", "parent_id": 13, "workCount": 1618 }, { "archiveItemCount": 143, "id": 222, "level": 3, "name": "man-made", "parent_id": 189, "workCount": 856 }, { "archiveItemCount": 5, "id": 7205, "level": 3, "name": "structure", "parent_id": 19, "workCount": 33 }, { "archiveItemCount": 0, "id": 18546, "level": 3, "name": "vent", "parent_id": 17, "workCount": 5 } ]

[ { "artistRoomsTour": false, "dateText": "19 July 2009 – 5 October 2009", "endDate": "2009-10-05", "exhibitionLegs": [ { "dateText": "19 July 2009 – 5 October 2009", "endDate": "2009-10-05", "id": 4673, "startDate": "2009-07-19", "venueName": "Museum of Modern Art (New York, USA)", "venueWebsiteUrl": null } ], "id": 3928, "startDate": "2009-07-19", "title": "In & Out of Amsterdam", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "10 June 2016 – 16 October 2016", "endDate": "2016-10-16", "exhibitionLegs": [ { "dateText": "10 June 2016 – 16 October 2016", "endDate": "2016-10-16", "id": 10302, "startDate": "2016-06-10", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 8503, "startDate": "2016-06-10", "title": "Between Object and Architecture - West", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Square Tubes [Series D]</i> 1967 is a construction set comprised of six different hollow forms made from galvanised sheet steel. The elements resemble the industrial materials used to form ventilation pipes. These basic components can be combined to create any number of configurations, each unit having a standard opening with a protruding edge that allows them to be bolted together. The number of unit parts incorporated in each iteration of the work is not defined, meaning that they can be fashioned to fit a space, or continued indefinitely. The concept allows a curator or buyer to assemble and change the installation according to his or her own criteria, relinquishing some of the artist’s creative autonomy to others.</p>\n<p>The six elements can be presented standing, lying, hanging or in series. The galvanised steel used in this and other works by Posenenske reflect the increased visibility of industrial materials and methods in architecture and artwork in this period. Yet the robust fabric also meant that arrangements could be displayed beyond the gallery setting. Posenenske photographed various configurations situated in train stations, airports, factories, and other industrial environments. She considered changes to the surface of the materials as welcome – the notations made by craftspeople, graffiti, fingerprints, or weathering were important, representing the passage of time and therefore gesture to the object’s existence in the world.</p>\n<p>The artist produced a similar prototype titled <i>Square Tubes [Series DW] </i>1968 shortly after conceiving of the prototype for this work. This construction set differed in that two pieces were removed from the sequence and the steel was exchanged for corrugated cardboard. Burkhard Brunn, executor of the artist’s estate, has suggested that with this development Posenenske sought to encourage the audience’s contribution to the construction of the artwork, eliminating the need for technicians and skilled craftsmen to fabricate the piece (see Wiehager 2009,<i> </i>p.76).</p>\n<p>In 1968 Posenenske published a statement in <i>Art International</i> in which she makes reference to the reproducibility of her works and her desire for the concept and ownership of the piece to be accessible:</p>\n<p class=\"cttext\">\n</p><blockquote>I make series<br/>because I do not want to make individual pieces for individuals,<br/>in order to have elements combinable within a system,<br/>in order to make something that is repeatable, objective,<br/>and because it is economical.<br/>The series can be prototypes for mass-production.<br/>...<br/>They are less and less recognisable as ‘works of art.’<br/>The objects are intended to represent anything other than what they are.<br/>(Posenenske 1968, p.50.)</blockquote>\n<p>Variability, participation and cooperation are important to the reception of Posenenske’s artistic oeuvre. The sculptural aspects of communication and cooperative usability can be seen in analogy to Posenenske’s radical democratic approach and the discussions of her time about the necessity of social change.</p>\n<p>While other artists of the period were working in multiples, limited to a finite edition, Posenenske worked in series, removing any limitations and paralleling the process of industrial production. For Posenenske the ‘series’ referred to a succession of versions following the same principle, as well as the infinite reproducibility of the archetype and the multiple presentation of the same type of model. The reconstructions are not based on the object itself, but on the concept. Posenenske offered the reconstructions commercially at their material cost. Reconstructions authorised by the artist’s estate are not replicas, and they are outwardly identical to the original prototype. The impassive involvement of the artist in this manner undermines the claim for originality and exclusivity associated with one-of-a-kind objects as well as the subsequent market prices. Only the certificate differentiates these unsigned artworks from other commodity objects.</p>\n<p>In an event held in Frankfurt in 1967, variation and repetition were not just proposed, but actively staged as assistants continually rearranged the constituent pieces of <i>Square Tubes [Series DW]</i>, creating perpetually changing structures.</p>\n<p>\n<b>Further reading</b>\n<br/>Charlotte Posenenske, ‘Statement’, <i>Art International</i>, no.5, May 1968, p.50.<br/>Renate Wiehager (ed.), <i>Charlotte Posenenske, 1930–1985</i>, Berlin 2009.<br/>\n<i>Charlotte Posenenske/Peter Roehr: The Same Thing Another Way/Always the Same Thing</i>, exhibition catalogue, Kunsthaus Wiesbaden, Wiesbaden 2012.</p>\n<p>Thomas Scutt<br/>March 2013</p>\n</div>\n", "display_name": "Summary", "publication_date": "2016-06-13T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Posenenske was interested in industrial methods of production, and produced free standing sculptures which often resemble standardised architectural units. <i>Square Tubes</i> <i>Series D</i>, consists of a number of folded, hollow elements which are joined together to create different shaped pieces, according to the owner’s decision. The tubes can be hung or placed on the floor in numerous configurations, and the physical organisation of the elements can be altered each time they are exhibited</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2016-10-12T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "abstraction", "architecture", "features", "from recognisable sources", "industrial", "man-made", "structure", "vent" ]

[ { "append_role_to_name": false, "date": "1930–1985", "fc": "Charlotte Posenenske", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/charlotte-posenenske-11040" } ]

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

[]

[ { "archiveItemCount": 1, "id": 184, "level": 1, "name": "abstraction", "parent_id": 1, "workCount": 8614 }, { "archiveItemCount": 1, "id": 13, "level": 1, "name": "architecture", "parent_id": 1, "workCount": 30959 }, { "archiveItemCount": 1323, "id": 17, "level": 2, "name": "features", "parent_id": 13, "workCount": 7549 }, { "archiveItemCount": 1, "id": 189, "level": 2, "name": "from recognisable sources", "parent_id": 184, "workCount": 3633 }, { "archiveItemCount": 457, "id": 19, "level": 2, "name": "industrial", "parent_id": 13, "workCount": 1618 }, { "archiveItemCount": 143, "id": 222, "level": 3, "name": "man-made", "parent_id": 189, "workCount": 856 }, { "archiveItemCount": 5, "id": 7205, "level": 3, "name": "structure", "parent_id": 19, "workCount": 33 }, { "archiveItemCount": 0, "id": 18546, "level": 3, "name": "vent", "parent_id": 17, "workCount": 5 } ]

[ { "artistRoomsTour": false, "dateText": "19 July 2009 – 5 October 2009", "endDate": "2009-10-05", "exhibitionLegs": [ { "dateText": "19 July 2009 – 5 October 2009", "endDate": "2009-10-05", "id": 4673, "startDate": "2009-07-19", "venueName": "Museum of Modern Art (New York, USA)", "venueWebsiteUrl": null } ], "id": 3928, "startDate": "2009-07-19", "title": "In & Out of Amsterdam", "type": "Loan-out" }, { "artistRoomsTour": false, "dateText": "10 June 2016 – 16 October 2016", "endDate": "2016-10-16", "exhibitionLegs": [ { "dateText": "10 June 2016 – 16 October 2016", "endDate": "2016-10-16", "id": 10302, "startDate": "2016-06-10", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 8503, "startDate": "2016-06-10", "title": "Between Object and Architecture - West", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Square Tubes [Series D]</i> 1967 is a construction set comprised of six different hollow forms made from galvanised sheet steel. The elements resemble the industrial materials used to form ventilation pipes. These basic components can be combined to create any number of configurations, each unit having a standard opening with a protruding edge that allows them to be bolted together. The number of unit parts incorporated in each iteration of the work is not defined, meaning that they can be fashioned to fit a space, or continued indefinitely. The concept allows a curator or buyer to assemble and change the installation according to his or her own criteria, relinquishing some of the artist’s creative autonomy to others.</p>\n<p>The six elements can be presented standing, lying, hanging or in series. The galvanised steel used in this and other works by Posenenske reflect the increased visibility of industrial materials and methods in architecture and artwork in this period. Yet the robust fabric also meant that arrangements could be displayed beyond the gallery setting. Posenenske photographed various configurations situated in train stations, airports, factories, and other industrial environments. She considered changes to the surface of the materials as welcome – the notations made by craftspeople, graffiti, fingerprints, or weathering were important, representing the passage of time and therefore gesture to the object’s existence in the world.</p>\n<p>The artist produced a similar prototype titled <i>Square Tubes [Series DW] </i>1968 shortly after conceiving of the prototype for this work. This construction set differed in that two pieces were removed from the sequence and the steel was exchanged for corrugated cardboard. Burkhard Brunn, executor of the artist’s estate, has suggested that with this development Posenenske sought to encourage the audience’s contribution to the construction of the artwork, eliminating the need for technicians and skilled craftsmen to fabricate the piece (see Wiehager 2009,<i> </i>p.76).</p>\n<p>In 1968 Posenenske published a statement in <i>Art International</i> in which she makes reference to the reproducibility of her works and her desire for the concept and ownership of the piece to be accessible:</p>\n<p class=\"cttext\">\n</p><blockquote>I make series<br/>because I do not want to make individual pieces for individuals,<br/>in order to have elements combinable within a system,<br/>in order to make something that is repeatable, objective,<br/>and because it is economical.<br/>The series can be prototypes for mass-production.<br/>...<br/>They are less and less recognisable as ‘works of art.’<br/>The objects are intended to represent anything other than what they are.<br/>(Posenenske 1968, p.50.)</blockquote>\n<p>Variability, participation and cooperation are important to the reception of Posenenske’s artistic oeuvre. The sculptural aspects of communication and cooperative usability can be seen in analogy to Posenenske’s radical democratic approach and the discussions of her time about the necessity of social change.</p>\n<p>While other artists of the period were working in multiples, limited to a finite edition, Posenenske worked in series, removing any limitations and paralleling the process of industrial production. For Posenenske the ‘series’ referred to a succession of versions following the same principle, as well as the infinite reproducibility of the archetype and the multiple presentation of the same type of model. The reconstructions are not based on the object itself, but on the concept. Posenenske offered the reconstructions commercially at their material cost. Reconstructions authorised by the artist’s estate are not replicas, and they are outwardly identical to the original prototype. The impassive involvement of the artist in this manner undermines the claim for originality and exclusivity associated with one-of-a-kind objects as well as the subsequent market prices. Only the certificate differentiates these unsigned artworks from other commodity objects.</p>\n<p>In an event held in Frankfurt in 1967, variation and repetition were not just proposed, but actively staged as assistants continually rearranged the constituent pieces of <i>Square Tubes [Series DW]</i>, creating perpetually changing structures.</p>\n<p>\n<b>Further reading</b>\n<br/>Charlotte Posenenske, ‘Statement’, <i>Art International</i>, no.5, May 1968, p.50.<br/>Renate Wiehager (ed.), <i>Charlotte Posenenske, 1930–1985</i>, Berlin 2009.<br/>\n<i>Charlotte Posenenske/Peter Roehr: The Same Thing Another Way/Always the Same Thing</i>, exhibition catalogue, Kunsthaus Wiesbaden, Wiesbaden 2012.</p>\n<p>Thomas Scutt<br/>March 2013</p>\n</div>\n", "display_name": "Summary", "publication_date": "2016-06-13T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Posenenske was interested in industrial methods of production, and produced free standing sculptures which often resemble standardised architectural units. <i>Square Tubes</i> <i>Series D</i>, consists of a number of folded, hollow elements which are joined together to create different shaped pieces, according to the owner’s decision. The tubes can be hung or placed on the floor in numerous configurations, and the physical organisation of the elements can be altered each time they are exhibited</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2016-10-12T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[ "abstraction", "architecture", "features", "from recognisable sources", "industrial", "man-made", "structure", "vent" ]

[ { "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" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999778, "shortTitle": "Outset / Frieze Art Fair Fund to benefit the Tate Collection: Ten Years 2003-2012" }, { "id": 999999956, "shortTitle": "Collection" } ]

[]

[ { "archiveItemCount": 316, "id": 1303, "level": 3, "name": "colonialism", "parent_id": 158, "workCount": 113 }, { "archiveItemCount": 7700, "id": 12833, "level": 3, "name": "cultural identity", "parent_id": 6927, "workCount": 243 }, { "archiveItemCount": 41, "id": 929, "level": 3, "name": "document - non-specific", "parent_id": 174, "workCount": 78 }, { "archiveItemCount": 3648, "id": 33, "level": 1, "name": "history", "parent_id": 1, "workCount": 2128 }, { "archiveItemCount": 1697, "id": 166, "level": 2, "name": "inscriptions", "parent_id": 162, "workCount": 4967 }, { "archiveItemCount": 8916, "id": 6927, "level": 2, "name": "lifestyle and culture", "parent_id": 145, "workCount": 1331 }, { "archiveItemCount": 35, "id": 6243, "level": 3, "name": "machinery", "parent_id": 86, "workCount": 144 }, { "archiveItemCount": 9924, "id": 78, "level": 1, "name": "objects", "parent_id": 1, "workCount": 13647 }, { "archiveItemCount": 0, "id": 19413, "level": 3, "name": "period: Native American Civilization", "parent_id": 38, "workCount": 1 }, { "archiveItemCount": 14, "id": 4576, "level": 3, "name": "piping", "parent_id": 86, "workCount": 12 }, { "archiveItemCount": 1241, "id": 38, "level": 2, "name": "politics and society", "parent_id": 33, "workCount": 1096 }, { "archiveItemCount": 4, "id": 9326, "level": 3, "name": "printed text", "parent_id": 166, "workCount": 1134 }, { "archiveItemCount": 2924, "id": 174, "level": 2, "name": "reading, writing, printed matter", "parent_id": 78, "workCount": 2235 }, { "archiveItemCount": 4671, "id": 158, "level": 2, "name": "social comment", "parent_id": 145, "workCount": 1913 }, { "archiveItemCount": 0, "id": 145, "level": 1, "name": "society", "parent_id": 1, "workCount": 15153 }, { "archiveItemCount": 0, "id": 19415, "level": 3, "name": "society: American Indian Movement", "parent_id": 38, "workCount": 1 }, { "archiveItemCount": 1762, "id": 162, "level": 1, "name": "symbols and personifications", "parent_id": 1, "workCount": 5388 }, { "archiveItemCount": 363, "id": 86, "level": 2, "name": "tools and machinery", "parent_id": 78, "workCount": 924 }, { "archiveItemCount": 0, "id": 160, "level": 2, "name": "transport: land", "parent_id": 145, "workCount": 2189 }, { "archiveItemCount": 8, "id": 16806, "level": 3, "name": "trolley", "parent_id": 160, "workCount": 13 } ]

[ { "artistRoomsTour": false, "dateText": "29 July 2013 – 20 April 2014", "endDate": "2014-04-20", "exhibitionLegs": [ { "dateText": "29 July 2013 – 20 April 2014", "endDate": "2014-04-20", "id": 8332, "startDate": "2013-07-29", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 6828, "startDate": "2013-07-29", "title": "Identity Politics", "type": "Collection based display" }, { "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>This is a composite sculpture made from a number of found objects and materials, including roughly-hewn wooden sticks, bone and a Coca Cola bottle. It takes the form of a strange-looking trolley-cum-machine, the purpose of which is ambiguous. The work has a lengthy French title, <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>, which translates as: ‘In many of these forests and woods, not only were there underground villages grouped around the chief’s burrow, but also, one could find true clusters of low-rise hamlets hidden under the trees, often so numerous that the forest could be full of them. Often smoke would betray their presence. Two of ...’. The title is taken from a piece of found text discovered by the artist and is attached to the handle of the trolley on a strip of white fabric. The work was originally titled <i>Untitled</i> but this was changed by Durham in 2009 to the current title, as was his original intention.</p>\n<p>In his early works, such as this, Durham consistently incorporated found objects and texts into constructed sculptures. The use of texts points to the artist’s exploration of cultural and political identities. In <i>Dans plusieurs de ces forêts et de ces bois </i>… the text bears no obvious relation to the object to which it is attached. Instead it is connected to Durham’s personal identity as a Native American of Cherokee descent. Durham was a political activist and a member of the American Indian Movement and the text, from an anonymous source, evokes the Native American culture in its description of a typical settlement.</p>\n<p>The sculpture was first exhibited in the Whitney Biennial in New York in 1993, alongside two other similar works by the artist, <i>I Forgot What I Was Going to Say</i> 1992 and <i>I Forgot What I Was Going to Say</i> 1992-3. This exhibition looked at art and artists from the early 1990s who were engaged in issues of cultural identity and politics. At this time Durham was living in New York and was part of a burgeoning artistic scene, which included other artists who were then outside the mainstream but who have subsequently played an important role in contemporary practice, such as Lorna Simpson and David Hammons. This biennial was among the first exhibitions to foreground these artists. Discussing the thesis of the exhibition in her accompanying catalogue essay, curator Thelma Golden explained: ‘one is not simply African-American, Native American, Hispanic-American, Euro-American or Asian-American, but also male or female, straight or gay, rich or poor, urban or rural. This exhibition acknowledges the varied personal and aesthetic strategies that inform this unfolding dialogue, this creation of a narrative which acknowledges the post-national, post-essential identity.’ (Sussman 1993, p.35.)</p>\n<p>\n<b>Further reading</b>\n<br/>Elizabeth Sussman (ed.), <i>1993 Biennial Exhibition</i>, exhibition catalogue, Whitney Museum of American Art, New York 1993, pp.12–24.<br/>Laura Mulvey, Dirk Snauwaert and Mark Alice Durant, <i>Jimmie Durham</i>, London 1995, reproduced p.135.<br/>Laurence Bossé and Julia Garimorth, <i>Jimmie Durham: Rolling Stones</i>, exhibition catalogue, Musée d’Art Moderne de la Ville de Paris/ARC 2009.</p>\n<p>Kyla McDonald<br/>November 2010</p>\n</div>\n", "display_name": "Summary", "publication_date": "2012-08-02T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[ "colonialism", "cultural identity", "document - non-specific", "history", "inscriptions", "lifestyle and culture", "machinery", "objects", "period: Native American Civilization", "piping", "politics and society", "printed text", "reading, writing, printed matter", "social comment", "society", "society: American Indian Movement", "symbols and personifications", "tools and machinery", "transport: land", "trolley" ]

[ { "append_role_to_name": false, "date": "born 1963", "fc": "Yuri Leiderman", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/yuri-leiderman-26546" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 255638, "shortTitle": "Notebooks" }, { "id": 999999956, "shortTitle": "Collection" } ]

[]

[]

[]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of a group of four works on paper created by Leiderman in Odessa, Ukraine in 1985–7 that are collectively known as the <i>Notebooks</i>. They were produced by arranging stencilled text, drawings in ballpoint pen and pencil, and collage elements on the pages of Soviet Union standard issue school notebooks or notepads. The four works are: <i>1 When you have been told … 2 That in many places … 3 Your lung cancer … 4 was discovered …</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/leiderman-1-when-you-have-been-told-2-that-in-many-places-3-your-lung-cancer-4-was-t14943\" title=\"View the details of this artwork\"><span>T14943</span></a>); <i>So, shall we go to the station? Why, I’m already at home</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/leiderman-so-shall-we-go-to-the-station-why-im-already-at-home-t14944\" title=\"View the details of this artwork\"><span>T14944</span></a>) <i>So they say, we stay overnight, try not to freeze, then all will be better</i> 1986 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/leiderman-so-they-say-we-stay-overnight-try-not-to-freeze-then-all-will-be-better-t14945\" title=\"View the details of this artwork\"><span>T14945</span></a>); and <i>During summer Petya lives in the country-side. He’s just four years old and even standing on his tiptoes he barely can reach the low branches of a cherry-tree in the garden. But sometimes in his dream he becomes extremely tall, higher than all the houses and trees, higher than the Sun and the Moon. Petya sees all the stars, and each of them is the Sun in itself, but Petya sees another side of the Earth too, where across the ocean Reagan hides with his rockets aiming to destroy all that lives. And then Petya can’t endure any longer, he snatches the biggest star from the sky and throws it with all his might at Reagan and his entourage for they disappear quicker </i>1987.</p>\n<p>In school notebook <i>1 When you have been told …</i>,<i> </i>the back cover, which features the multiplication tables and a table of metric measures for volume, space and mass calculations, has been intervened on so that the tables are obscured by a collaged black rectangle reminiscent of Kasimir Malevich’s (1879–1935) suprematist painting <i>Black Square</i> 1913 (State Tretyakov Gallery, Moscow). Only every other sheet of the notebook has a stencilled inscription, and most of the text is obscured with the same black ballpoint pen used to stencil the text. The second school notebook, <i>So, shall we go to the station? Why, I’m already at home</i> 1985,<i> </i>features ten empty pages with a short, apparently mundane dialogue-like text in the middle of the notebook, with abstract drawings of a hovering spherical form. The nonsensical text appears to be wholly unconnected to the medium – the school notebook – or the abstract art forms contained in both notebooks, which were executed in 1985, the first year of Perestroika.</p>\n<p>Two notebooks from 1986 and 1987 are also executed on standardised mass-produced exercise books, but feature a more prominent drawn element, with added watercolour. In both <i>So they say, we stay overnight … </i>1986 and <i>During summer Petya lives in the country-side … </i>1987,<i> </i>the stencilled texts takes the form of a short narrative that shares the same page with repeated abstract forms and shapes but without forming any logical connection between text and image.</p>\n<p>One of the founders of Moscow conceptualism, the artist Andrei Monastyrski (born 1949), described Leiderman’s innovative concept in the <i>Notebooks</i>:</p>\n<p class=\"cttext\">\n</p><blockquote>Leiderman’s series of school exercise books and small books created in the 1980s was a significant new genre, that created a resonance in conceptualism, comparable to that of [Ilya] Kabakov’s 1970s albums … His ‘aesthetic contacts’ with every-day and ideologically charged objects (note, that most of the objects of Soviet material culture were in one way or another ideologically charged or defaced by the state) such as, for example, school exercise books, always triggered in the viewer a sense of ungraspable discursive substance. This was not merely a radical artistic practice, but a work that spoke on the deepest aesthetic levels and engendered aesthetic discourses.<br/>(Andrei Monastyrsky, ‘Literary Objects and Other works by Yuri Leiderman’ in <i>Yuri Leiderman, Ensemblement</i>, 2004., p.24.)</blockquote>\n<p>Working with standard school exercise books as used across the Soviet Union, and with the standard stencilled typeface, Leiderman created what were, as Monastyrsky pointed out, highly ideologically charged pieces. Originally conceived as interactive text-based works that the viewer could flick through, the notebooks combined nonsensical texts free of the narrative and rhythm implied by experiencing text in a linear, page-by-page manner, leaving the reader with a sense of non-closure and suspension.</p>\n<p>The artist has commented: </p>\n<p class=\"cttext\">\n</p><blockquote>We can make the text and illustration become so hackneyed that they hold on to each other only because the form is familiar to the spectator: that’s a ‘book’, that’s a picture, that’s an ‘explanation’ … From another point of view it’s ‘graphomania’, text production and commentary, shunning all subject support, only concerned with its own internal connection, explanation and continuation in a chain of never ending versification … Absurdity supports absurdity when the desire for meaning dashes about unsatisfactorily between the edges of that conceptual split, from image to the text and back again.<br/>Quoted in ibid., p. 44.)</blockquote>\n<p>The <i>Notebooks</i> were created before Leiderman moved to Moscow, where he became one of the figures involved with Moscow conceptualism. They combine the surrealist aspects of the literary and creative practices of the Odessa school with the interactive and communal nature of Moscow conceptualism, specifically the albums of Ilya Kabakov (born 1933). Created prior to the growth in the number of alternative art galleries in the Soviet Union in the late 1980s, the <i>Notebooks</i> represent the body of ephemeral and portable artworks created for unofficial exhibitions known as ‘apt art’ (apartment art, because it was shown in domestic spaces).</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Le Pôle du froid; Inspection Herméneutique Médicale et l’art russe des années 90,</i> Paris 2000.<br/>Yuri Leiderman, <i>Docteurs-pêcheurs et partis du bonheur general</i>, Thiers 2001.<br/>\n<i>Yuri Leiderman,</i> <i>Ensemblement,</i> Quimper 2004.</p>\n<p>Natalia Sidlina<br/>May 2017</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-11-10T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[]

[ { "append_role_to_name": false, "date": "born 1962", "fc": "Danica Dakic", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/danica-dakic-29268" } ]

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

[]

[]

[]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Isola Bella </i>2007–8 is a single-channel video projection displayed in a dark and sound-insulated space that is carpeted and painted grey. Outside the space a number of props used in the film are displayed in a case on the wall, above which hang three posters bearing the work’s title in large white capital letters against a backdrop of blue sky and palm trees. The film, which lasts just over nineteen minutes, was shot at the Home for the Protection of Children and Youth in the Bosnian village of Pazaric, near Sarajevo, a facility for young people with mental health problems and physical disabilities. The artist collaborated with its forty residents to stage an unscripted performance. Set against the backdrop of historical panoramic wallpaper featuring an ideal and beautiful island, the play presents a series of monologues, movements and musical improvisations enacted spontaneously by the residents. Wearing ordinary clothes and paper Victorian-style masks, the participants are both the actors and the audience for the performance. The title of the work, <i>Isola Bella</i> (Italian for ‘beautiful island’), is derived from the name of the wallpaper design and hints at the history of the place, which benefited from its geographical isolation and survived the Balkan wars of the 1990s without any serious damage or casualties. Most importantly, however, it points to the utopian character of the performance, which blends narratives describing real facts from the lives of the protagonists with fictional stories reflecting their never-to-be-fulfilled dreams and fantasies: one of the inmates, for instance, tells a story of his life on the streets and experience of drug abuse while another projects her future as a legal expert for the United Nations.</p>\n<p>The poignant discord between impoverished reality and optimistic fiction in the performed accounts is enforced by the artist’s employment of formal means that play with cinematic and theatrical conventions. The cinematography of <i>Isola Bella</i> embraces grand, high-resolution images and elegantly studied long takes. The presence of the luxurious wallpaper is contrasted with the modesty of the location where the action takes place – its PVC floors and old furniture, as well as the basic clothes of the residents – ‘as if the filmic codes of visual richness have been taken to a place whose aesthetic and existential richness is hidden behind the layers of privation and practices of exclusion’ (Tom Holert, in Kunsthalle Düsseldorf 2009–10, p.11). The prominence of props, such as the paper masks, further suspends the sense of reality. The participants wear them while on stage and when sitting in the audience, blurring the lines between their respective roles. With their faces covered, they can conceal their personalities and adopt theatrical personae. This anonymity and the artificiality of the set-up allow them to become detached from any specific political, social, economic or cultural context. Commenting on such strategies in Dakić’s wider practice, curator and art historian Tom Holert has written:</p>\n<p class=\"cttext\">\n</p><blockquote>Danica Dakić’s intense engagement and interaction with the people and places she hopes to work with always leads to non-documentary event, to the production of a fiction. Instead of making the world of the marginalised individuals with whom she enters into contact the object of an illustrative activity, she uses artistic means including choreography, dramaturgy, and set-design to create a counter-world. This world-building approach which fosters and uses the imaginative capacities of those involved, as well as methods of de- and re-contextualisation, is not totally free of documentary dimensions but there is nothing documentary about its quality as a machine producing audiovisual jargon and evidence. Instead fictionality and stylisation come to play, tracing lines of flight that transgress the documentary without denying the reality on which it is based. </blockquote>\n<blockquote>(Holert, in Kunsthalle Düsseldorf 2009–10, p.14.)</blockquote>\n<p>Dakić’s way of working is participatory, yet the final form of the collaboration – the finished film – results from decisions made by the artist during the editing process. Dakić is transparent in her actions, exposing the mechanisms by which she manipulates the recorded footage. Throughout the film there is a disparity between sound and choreography, the gestures of the performers and reactions of the audience. Most noticeably, however, the narrative of the film is disturbed and fragmented. Individual scenes are presented out of sequence, a decision clearly marked by the use of prime numbers in the intertitles that punctuate the scenes, shown in no discernible order. The invented chronology leads the viewer through the narrative told by the residents yet mediated by the artist, who brings to light their personal, often untold stories – an approach summarised by curator Emily Gonzales:</p>\n<p class=\"cttext\">\n</p><blockquote>Through her artworks, Dakić creates a space for the performers to escape the constraints of their daily lives by recognizing and staging their desires and phantasies. Here, again, her use of prime numbers in the intertitles in ‘Isola Bella’ highlights the value she sees in their unique, often overlooked, stories. By including numbers that are the product of only themselves and one, Dakić further argues for the importance of paying attention to individual experiences. </blockquote>\n<blockquote>(Emily Gonzalez, <i>Hammer Projects: Danica Dakić</i>, 2011, <a href=\"https://hammer.ucla.edu/exhibitions/2011/hammer-projects-danica-dakic/\">https://hammer.ucla.edu/exhibitions/2011/hammer-projects-danica-dakic/</a>, accessed 1 June 2019.)</blockquote>\n<p>\n<i>Isola Bella </i>encapsulates Dakić’s practice, which focuses on the notion of belonging but also on the social status of minority and marginalised communities, reflecting both her own experience of displacement resulting from living in exile during the Balkan war and her interest in the social role of art. Key to this approach is her commitment to testing the conventions and mechanism of the cinematic medium, as well as the theatricality embedded in the scenarios that she creates for her pieces. <i>Isola Bella</i> was commissioned for Dakić’s solo exhibition at Kunsthalle Düsseldorf in 2009 and remains one of the artist’s best-known works. It exists in an edition of five plus two artist’s proofs; Tate’s copy is number five in the edition. Other copies from the edition are held in the Centre Pompidou, Paris, Generali Foundation, Vienna and the Nouveau Musée National de Monaco. </p>\n<p>\n<b>Further reading</b>\n<br/>Tom Holert, ‘A Politics of the Figure’, in <i>Danica Dakić</i>, exhibition catalogue, Kunsthalle Düsseldorf, 29 August–8 November 2009; Generali Foundation, Vienna, 22 January–16 May 2010; Museum of Contemporary Art, Zagreb, 5 October–21 November 2010.<br/>Ana Janevski, ‘Danica Dakić: The Architecture of Working Together’, in <i>Danica Dakić: Zenica Trilogy</i>,<i> </i>exhibition catalogue, The Pavilion of Bosnia and Hercegovina at the 58th International Art Exhibition – La Biennale di Venezia, Sarajevo 2019.</p>\n<p>Kasia Redzisz<br/>June 2019</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-10-13T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[]

[ { "append_role_to_name": false, "date": "born 1974", "fc": "Charlotte Prodger", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/charlotte-prodger-22909" } ]

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

[]

[]

[]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p></p>\n<p>The two monitors play short homemade videos taken from the YouTube account of an anonymous user called ‘Nikeclassics’ who posts videos documenting fetishistic acts of adoration and destruction carried out on his previously pristine collection of trainers. Prodger interprets his videos as a desire to see every part of the object. She frames his coded erotics within the historical context of 1970s structuralist film where the processes of measuring and cutting visual and material pleasure were privileged over narrative content. The two monitors play footage concurrently, with one screen being blank while the other is playing film.</p>\n<p>As part of the installation, an audio tape plays on a Sharp GF777 boombox. Considered to be the holy grail of boomboxes, this model was designed in 1982 to drown out all other boomboxes on the street. Prodger has repurposed this now rarified object to transmit narrative fragments that shift between tenses and persons, just as the boundlessness of internet video can be experienced everywhere simultaneously. The narrative contained on the audio tape is taken from several different sources, narrated by the artist and her friends. The narrative moves from direct discussions of what is seen in the YouTube films to the comments that are posted under the videos online, as well as a series of emails exchanged between Prodger and her friends. In addition, there is a diaristic text written by the artist discussing personal content relating to her own life in Scotland and the making of 16mm film. The emails from her friends offer two women’s personal interpretations of a night at the Berghain in Berlin – a famous techno nightclub also known for being a queer cruising environment. This narrative is also reproduced in full on the risograph that accompanies the installation, a signature of Prodger’s practice which she sees as an act of generosity that gives full access to the content of the tape.</p>\n<p>\n<i>Colon Hyphen Asterix</i> featured in Prodger’s solo exhibition – also entitled <i>Colon Hyphen Asterix</i> – at the Centre for Contemporary Art in Glasgow in 2012. The exhibition marked a significant shift in the artist’s career from making 16mm film to the installation-based work that she has subsequently become known for. It demonstrates the key themes of the artist’s work: queer identity, the legacy of structuralist filmmaking, autobiography and a concern with the nature of sculpture. Prodger has stated that the tensions between language and a minimalist approach to materials that she was engaged with while making <i>Colon Hyphen Asterix </i>emerged from her experience of growing up queer within the austere, emotionally restrained, anti-ornamental Presbyterian culture of Aberdeenshire in Scotland. The title of the work makes reference to the grammatical marks which punctuate our written – and, by extension, spoken – language. Across her practice more broadly, she has worked with video, the printed image, sculpture and writing, exploring the ways in which identity can shift and change, particularly from a queer perspective.</p>\n<p>Having used moving image for over twenty years, Prodger’s work has evolved through multiple recording formats and platforms from audio tape and 16mm film through to the use of smart phones. Much of her art uses the legacies of structural film, minimalism and queer subjectivity to investigate tensions between form and content. The slippery idea of the ‘version’ or ‘remix’ – where something produces a mutation of itself – is played and replayed throughout Prodger’s work. Motifs, anecdotes and physical forms get repurposed and reworked, this process of evolution relating not only to reproductive technologies but also to the development of identity.</p>\n<p>\n<b>Further reading</b>\n<br/>Charlotte Prodger and Isla Leaver-Yap, <i>Re: Re: Re: Homos and Light</i>, online video documentation of a conversation, Artists’ Space Videos, 21 February 2013, <a href=\"http://artistsspace.org/materials/re-re-re-homos-and-light\">http://artistsspace.org/materials/re-re-re-homos-and-light</a>, accessed 30 October 2018. <br/>Carly Whitefield, <i>Turner Prize 2018</i>, exhibition catalogue, Tate Britain, London 2018.<br/>Erika Balsom, ‘Openings: Charlotte Prodger’, <i>Art Forum</i>, October 2018 <a href=\"https://www.artforum.com/print/201808/erika-balsom-on-charlotte-prodger-76736\">https://www.artforum.com/print/201808/erika-balsom-on-charlotte-prodger-76736</a>, accessed 21 November 2018.</p>\n<p>Linsey Young<br/>October 2018</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-10-26T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

[]

[ { "append_role_to_name": false, "date": "born 1953", "fc": "Dawoud Bey", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/dawoud-bey-25420" } ]

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

[]

[]

[]

[]

[]

[ { "append_role_to_name": false, "date": "born 1948", "fc": "Cecilia Vicuña", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/cecilia-vicuna-21412" } ]

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

[]

[]

[ { "artistRoomsTour": false, "dateText": "22 March 2021 – 30 March 2022", "endDate": "2022-03-30", "exhibitionLegs": [ { "dateText": "22 March 2021", "endDate": null, "id": 14506, "startDate": "2021-03-22", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11946, "startDate": "2021-03-22", "title": "Cecilia Vicuña and Joseph Beuys", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Quipu Womb (The Story of the Red Thread, Athens)</i> 2017 is a monumental sculpture by Cecilia Vicuña composed from fifty-two red wool strands, referred to as <i>chorros</i>, that hang from a circular ring suspended from the ceiling. Each of the chorros is of a different length but many can reach up to twelve metres. The combined weight of the chorros is approximately 80 kg (176.37 lb). The hanging height can be adapted for the display space but, in each case, the chorros that touch the floor are left in a loose formation. The work was first exhibited at documenta 14 at the National Museum of Contemporary Art (EMST) in Athens in 2017.</p>\n<p>‘Quipu’ is the Spanish transliteration of the word for ‘knot’ in the Cuzco Quechua language of Peru. The work draws upon the practice of quipu-making from the pre-Colombian period in Peru, when people would tie cords into knots, with additional coloured strands attached, as an alternative form of language to record events, information and stories. Vicuña has explained:</p>\n<p class=\"cttext\">\n</p><blockquote>In the Andes people did not write, they wove meaning into textiles and knotted cords. Five thousand years ago they created the quipu (knot), a poem in space, a way to remember, involving the body and the cosmos at once. A tactile, spatial metaphor for the union of all. The quipu, and its virtual counterpart, the ceque system of sightlines connecting all communities in the Andes, were banished after the Conquest. Quipus were burnt, but the vision of interconnectivity, a poetic resistance endures underground. The ‘quipu that remembers nothing’, an empty cord was my first precario (c. l966). Today, I continue to create metaphorical iterations of the quipu. (Cecilia Vicuña, <a href=\"http://www.ceciliavicuna.com/quipus\">http://www.ceciliavicuna.com/quipus</a>, accessed 20 October 2020.)</blockquote>\n<p>Vicuña’s use of this technique is a reclaiming of Indigenous practices that have been integral to her work as an artist and also as a poet. In her poem ‘Word &amp; Thread’ Vicuña relates thread to language, writing: ‘A word carries another word as thread searches for thread.’ (‘Word &amp; Thread’, in Witte de With 2019, translated from Spanish by Rosa Alcalá, p.332.) Through the assortment of chorros that overtake the height of the gallery space, Vicuña seems to suggest that <i>Quipu Womb</i> is an epic poem waiting to be told, while the visual effect of the cascading form has an affinity with water, also a recurring feature in both her writing and performances. The crimson colour of the sculpture more explicitly draws attention to the title of the work, which the curator Dieter Roelstraete has said references the ‘syncretic religious tradition that, via the umbilical cord of menstrual symbolism, connects Andean mother goddesses with the maritime mythologies of ancient Greece’ (Roelstraete 2017, accessed 20 October 2020).</p>\n<p>\n<i>Quipu Womb</i> is the largest of approximately ten monumental Quipu sculptures the artist has created during her career. She began making them in 1966 and soon integrated them into her everyday life. A now lost quipu was included in the presentation of her installation <i>Precarios: Journal of Objects for the Chilean Resistance </i>1973–4 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/vicuna-precarios-a-journal-of-objects-for-the-chilean-resistance-t14170\" title=\"View the details of this artwork\"><span>T14170</span></a>) at Arts Meeting Place in London in 1974. They can be connected to her broader interest in performance, language, textiles, ecology and activism. Vicuña often creates performances around the construction and display of her works and while this sculpture was on display in Athens, she used excess portions of wool in a performance titled <i>Beach Ritual</i>, staged along the city’s coastline.</p>\n<p>Red thread has been a recurring element in the artist’s work since the 1970s, used metaphorically in ephemeral weavings placed in the landscape as well as in paintings and sculpture to refer to blood, menstruation and wounds, as well as to communal bonds. Examples of these works include <i>Angel of Menstruation</i> 1973 and the performance <i>Glass of Milk Bogota</i> 1973. In 2006, to protest against the ongoing ecological destruction of El Plomo Glacier in Chile, Vicuña staged <i>Quipu Menstrual</i> in front of the presidential palace. The motif of a red thread also appears in many of her poetic texts, published in <i>Read Thread, The Story of the Red Thread</i> (Sternberg Press, Berlin, 2017) and <i>Cecilia Vicuña: About to Happen</i> (Siglio Press, Catskill, New York, 2017).</p>\n<p>\n<b>Further reading</b>\n<br/>Dieter Roelstraete, <i>documenta 14: Daybook</i>, 2017, <a href=\"https://www.documenta14.de/en/artists/13557/cecilia-vicuna\">https://www.documenta14.de/en/artists/13557/cecilia-vicuna</a>, accessed 20 October 2020.<br/>Cecilia Vicuña, <i>Read Thread: The Story of the Red Thread</i>, Berlin 2017.<br/>Miguel Lopez (ed.), <i>Cecilia Vicuña: Seehearing, The Enlightened Failure</i>, exhibition catalogue, Witte de With Center for Contemporary Art, Rotterdam 2019.</p>\n<p>Michael Wellen, Fiontán Moran<br/>October 2020</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-10-24T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Vicuña calls Quipu Womb a ‘poem in space.’ Over 50 large strands of unspun wool, dyed red, flow down from a metal ring high above our heads. Each cord has different knots spaced rhythmically along its length. The work references menstrual blood as well as the energies, flows and cycles of nature. Vicuña draws from Indigenous weaving practices, ritual, and environmental activism. Many of these works include explorations of the quipu. This is an ancient system of knotting rope used by Inca and Andean cultures, thought to be an alternative to written language. The artist says this ‘must have been a female invention.’</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2022-02-10T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[]

[ { "append_role_to_name": false, "date": "1959 – 2018", "fc": "Laura Aguilar", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/laura-aguilar-29698" } ]

[ { "id": 999999875, "shortTitle": "Tate Modern" }, { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999872, "shortTitle": "Works on display" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

[ { "map_gallery": "TM", "map_gallery_label": "Tate Modern", "map_level": "TM_03", "map_level_label": "TM Level 3", "map_space": "TMS3C06A", "map_space_label": "Tate Modern / S3C06A", "map_wing": null, "map_wing_label": null, "map_zone": "TM_BB", "map_zone_label": "TM Blavatnik Building", "nid": "452392" } ]

[]

[ { "artistRoomsTour": false, "dateText": "18 July 2022", "endDate": null, "exhibitionLegs": [ { "dateText": "18 July 2022", "endDate": null, "id": 14456, "startDate": "2022-07-18", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11912, "startDate": "2022-07-18", "title": "Performing Genders, Performing Selves", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Aguilar explained, ‘My work is a collaboration between the sitters and myself... Hopefully the universal elements in the work can be recognised by other individuals’ communities and can initiate the viewer to new experiences about gays, lesbians, and people of color.’ For the artist, the viewer ‘is as vulnerable as the nude person because as they view the images, they are hopefully seeing images of themselves.’</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2022-11-02T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[]

[ { "append_role_to_name": false, "date": "1959 – 2018", "fc": "Laura Aguilar", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/laura-aguilar-29698" } ]

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

[]

[]

[]

[]

[]

[ { "append_role_to_name": false, "date": "1959 – 2018", "fc": "Laura Aguilar", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/laura-aguilar-29698" } ]

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

[]

[]

[]

[]

[]

[ { "append_role_to_name": false, "date": "1959 – 2018", "fc": "Laura Aguilar", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/laura-aguilar-29698" } ]

[ { "id": 999999875, "shortTitle": "Tate Modern" }, { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999872, "shortTitle": "Works on display" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

[ { "map_gallery": "TM", "map_gallery_label": "Tate Modern", "map_level": "TM_03", "map_level_label": "TM Level 3", "map_space": "TMS3C06A", "map_space_label": "Tate Modern / S3C06A", "map_wing": null, "map_wing_label": null, "map_zone": "TM_BB", "map_zone_label": "TM Blavatnik Building", "nid": "452392" } ]

[]

[ { "artistRoomsTour": false, "dateText": "18 July 2022", "endDate": null, "exhibitionLegs": [ { "dateText": "18 July 2022", "endDate": null, "id": 14456, "startDate": "2022-07-18", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11912, "startDate": "2022-07-18", "title": "Performing Genders, Performing Selves", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Clothed/Unclothed #4</i> and <i>#34</i> depict the photographer, artist and social activist Willie Middlebrook 1957–2012, a friend of Aguilar’s, solo and with his two children.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2022-11-02T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[]

[ { "append_role_to_name": false, "date": "1959 – 2018", "fc": "Laura Aguilar", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/laura-aguilar-29698" } ]

[ { "id": 999999875, "shortTitle": "Tate Modern" }, { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999872, "shortTitle": "Works on display" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

[ { "map_gallery": "TM", "map_gallery_label": "Tate Modern", "map_level": "TM_03", "map_level_label": "TM Level 3", "map_space": "TMS3C06A", "map_space_label": "Tate Modern / S3C06A", "map_wing": null, "map_wing_label": null, "map_zone": "TM_BB", "map_zone_label": "TM Blavatnik Building", "nid": "452392" } ]

[]

[ { "artistRoomsTour": false, "dateText": "18 July 2022", "endDate": null, "exhibitionLegs": [ { "dateText": "18 July 2022", "endDate": null, "id": 14456, "startDate": "2022-07-18", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11912, "startDate": "2022-07-18", "title": "Performing Genders, Performing Selves", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Clothed/Unclothed #14</i> shows the academic Luz Calvo, first in jeans and shirt, and then naked with a sticker across their genitals stating ‘FUCK YOUR GENDER. QUEER NATION’. Queer Nation is an LGBTQIA+ activist organisation founded in 1990 in New York City, known for its confrontational tactics and slogans giving visibility to people identifying as queer. ‘Fuck your gender’ works both as a rallying cry against traditional gender roles and as a playful invitation to engage in queer encounters.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2022-11-02T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[]

[ { "append_role_to_name": false, "date": "1959 – 2018", "fc": "Laura Aguilar", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/laura-aguilar-29698" } ]

[ { "id": 999999875, "shortTitle": "Tate Modern" }, { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999872, "shortTitle": "Works on display" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

[ { "map_gallery": "TM", "map_gallery_label": "Tate Modern", "map_level": "TM_03", "map_level_label": "TM Level 3", "map_space": "TMS3C06A", "map_space_label": "Tate Modern / S3C06A", "map_wing": null, "map_wing_label": null, "map_zone": "TM_BB", "map_zone_label": "TM Blavatnik Building", "nid": "452392" } ]

[]

[ { "artistRoomsTour": false, "dateText": "18 July 2022", "endDate": null, "exhibitionLegs": [ { "dateText": "18 July 2022", "endDate": null, "id": 14456, "startDate": "2022-07-18", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11912, "startDate": "2022-07-18", "title": "Performing Genders, Performing Selves", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Aguilar shows us how the camera can be used to imagine different ways of being. Her images specifically counter white, heteronormative, able-bodied images of women that proliferate. As a Chicana photographer and video artist, Aguilar used the camera to explore herself and the intersection of Chicanx, Latinx, immigrant and queer communities in Los Angeles in the 1980s and 1990s.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2022-11-02T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[]

[ { "append_role_to_name": false, "date": "1959 – 2018", "fc": "Laura Aguilar", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/laura-aguilar-29698" } ]

[ { "id": 999999875, "shortTitle": "Tate Modern" }, { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999872, "shortTitle": "Works on display" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

[ { "map_gallery": "TM", "map_gallery_label": "Tate Modern", "map_level": "TM_03", "map_level_label": "TM Level 3", "map_space": "TMS3C06A", "map_space_label": "Tate Modern / S3C06A", "map_wing": null, "map_wing_label": null, "map_zone": "TM_BB", "map_zone_label": "TM Blavatnik Building", "nid": "452392" } ]

[]

[ { "artistRoomsTour": false, "dateText": "18 July 2022", "endDate": null, "exhibitionLegs": [ { "dateText": "18 July 2022", "endDate": null, "id": 14456, "startDate": "2022-07-18", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11912, "startDate": "2022-07-18", "title": "Performing Genders, Performing Selves", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Aguilar often turned the camera on herself to explore her identity, exposing her own vulnerabilities and inner conflicts. She extended this sensitivity to the people she photographed, portraying their vulnerable and intimate sides while retaining a direct and candid quality, even when carefully constructed in the studio. The series <i>Clothed/Unclothed</i> 1990–4 show people from Aguilar’s social circles, including the LGBTQIA+ community, the Chicanx art community, academics and other professionals in Los Angeles. She collaborated with her sitters to explore universal themes around the construction and representation of identity that relate to queer forms of community and kinship.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2022-11-02T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[]

[ { "append_role_to_name": false, "date": "1959 – 2018", "fc": "Laura Aguilar", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/laura-aguilar-29698" } ]

[ { "id": 999999875, "shortTitle": "Tate Modern" }, { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999872, "shortTitle": "Works on display" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

[ { "map_gallery": "TM", "map_gallery_label": "Tate Modern", "map_level": "TM_03", "map_level_label": "TM Level 3", "map_space": "TMS3C06A", "map_space_label": "Tate Modern / S3C06A", "map_wing": null, "map_wing_label": null, "map_zone": "TM_BB", "map_zone_label": "TM Blavatnik Building", "nid": "452392" } ]

[]

[ { "artistRoomsTour": false, "dateText": "18 July 2022", "endDate": null, "exhibitionLegs": [ { "dateText": "18 July 2022", "endDate": null, "id": 14456, "startDate": "2022-07-18", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 11912, "startDate": "2022-07-18", "title": "Performing Genders, Performing Selves", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Foregrounding care and trust in her art practice, Aguilar created collaborative and reciprocal relationships with her sitters. Rejecting traditional family portraiture, the subjects remain intertwined as they hold our gaze. Bodies are close and connected, both clothed and unclothed, revealing their deep connection as a unit.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2022-11-02T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

[]

[ { "append_role_to_name": false, "date": "1959 – 2018", "fc": "Laura Aguilar", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/laura-aguilar-29698" } ]

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

[]

[]

[ { "artistRoomsTour": false, "dateText": "5 October 2023 – 25 August 2024", "endDate": "2024-08-25", "exhibitionLegs": [ { "dateText": "5 October 2023 – 14 January 2024", "endDate": "2024-01-14", "id": 15452, "startDate": "2023-10-05", "venueName": "Barbican Art Gallery (London, UK)", "venueWebsiteUrl": null }, { "dateText": "29 March 2024 – 25 August 2024", "endDate": "2024-08-25", "id": 15638, "startDate": "2024-03-29", "venueName": "FOMU (Antwerp, Belgium)", "venueWebsiteUrl": null } ], "id": 12683, "startDate": "2023-10-05", "title": "RE/SISTERS: Ecologies, Communities & Survival", "type": "Loan-out" } ]

[]

[]

[ { "append_role_to_name": false, "date": "1959 – 2018", "fc": "Laura Aguilar", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/laura-aguilar-29698" } ]

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

[]

[]

[]

[]

[]

[ { "append_role_to_name": false, "date": "1959 – 2018", "fc": "Laura Aguilar", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/laura-aguilar-29698" } ]

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

[]

[]

[ { "artistRoomsTour": false, "dateText": "5 October 2023 – 25 August 2024", "endDate": "2024-08-25", "exhibitionLegs": [ { "dateText": "5 October 2023 – 14 January 2024", "endDate": "2024-01-14", "id": 15452, "startDate": "2023-10-05", "venueName": "Barbican Art Gallery (London, UK)", "venueWebsiteUrl": null }, { "dateText": "29 March 2024 – 25 August 2024", "endDate": "2024-08-25", "id": 15638, "startDate": "2024-03-29", "venueName": "FOMU (Antwerp, Belgium)", "venueWebsiteUrl": null } ], "id": 12683, "startDate": "2023-10-05", "title": "RE/SISTERS: Ecologies, Communities & Survival", "type": "Loan-out" } ]

[]

[]

[ { "append_role_to_name": false, "date": "1959 – 2018", "fc": "Laura Aguilar", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/laura-aguilar-29698" } ]

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

[]

[]

[]