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[ { "append_role_to_name": false, "date": "born 1984", "fc": "Michael Armitage", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/michael-armitage-29561" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p></p>\n<p>Armitage has described how drawing is a central part of his practice; he draws prolifically and over time works out how to use the subject matter in them as elements within his paintings. In a spoken interview discussing his paintings and drawings that were included in the 58th Venice Biennale in 2019, <i>May You Live In Interesting Times</i>, curated by Ralph Rugoff, Armitage said: ‘[The drawings] are the beginning and the most integral part of my practice, in that all the images that I’ll put together to make the paintings begin with that.’ (‘Michael Armitage on <i>May You Live In Interesting Times</i>’, 12 June 2019, <a href=\"https://www.youtube.com/watch?v=vVfef8OkSuE&amp;t=3s\">https://www.youtube.com/watch?v=vVfef8OkSuE&amp;t=3s</a>, accessed 15 September 2019.)</p>\n<p>The significance of drawing in Armitage’s practice, and the way in which works such as these studies form a source of iconography in his painting, is part of what the art historian and curator Catherine Lampert has referred to as his ‘synthetic’ approach: ‘His approach is synthetic but various in terms of composition; sometimes shapes flow, occasionally images are cut and pasted, he experiments with florid colour and sinuous line, and eventually the elements click into place.’ (Catherine Lampert, ‘Michael Armitage: Apparitions and Habitats’, in White Cube 2015, p.29.)</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Michael Armitage</i>, exhibition catalogue, White Cube, London 2015.</p>\n<p>Helen Delaney<br/>September 2019</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-12-01T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1984", "fc": "Michael Armitage", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/michael-armitage-29561" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p></p>\n<p>Armitage has described how drawing is a central part of his practice; he draws prolifically and over time works out how to use the subject matter in them as elements within his paintings. In a spoken interview discussing his paintings and drawings that were included in the 58th Venice Biennale in 2019, <i>May You Live In Interesting Times</i>, curated by Ralph Rugoff, Armitage said: ‘[The drawings] are the beginning and the most integral part of my practice, in that all the images that I’ll put together to make the paintings begin with that.’ (‘Michael Armitage on <i>May You Live In Interesting Times</i>’, 12 June 2019, <a href=\"https://www.youtube.com/watch?v=vVfef8OkSuE&amp;t=3s\">https://www.youtube.com/watch?v=vVfef8OkSuE&amp;t=3s</a>, accessed 15 September 2019.)</p>\n<p>The significance of drawing in Armitage’s practice, and the way in which works such as these studies form a source of iconography in his painting, is part of what the art historian and curator Catherine Lampert has referred to as his ‘synthetic’ approach: ‘His approach is synthetic but various in terms of composition; sometimes shapes flow, occasionally images are cut and pasted, he experiments with florid colour and sinuous line, and eventually the elements click into place.’ (Catherine Lampert, ‘Michael Armitage: Apparitions and Habitats’, in White Cube 2015, p.29.)</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Michael Armitage</i>, exhibition catalogue, White Cube, London 2015.</p>\n<p>Helen Delaney<br/>September 2019</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-12-01T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1984", "fc": "Michael Armitage", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/michael-armitage-29561" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p></p>\n<p>Armitage has described how drawing is a central part of his practice; he draws prolifically and over time works out how to use the subject matter in them as elements within his paintings. In a spoken interview discussing his paintings and drawings that were included in the 58th Venice Biennale in 2019, <i>May You Live In Interesting Times</i>, curated by Ralph Rugoff, Armitage said: ‘[The drawings] are the beginning and the most integral part of my practice, in that all the images that I’ll put together to make the paintings begin with that.’ (‘Michael Armitage on <i>May You Live In Interesting Times</i>’, 12 June 2019, <a href=\"https://www.youtube.com/watch?v=vVfef8OkSuE&amp;t=3s\">https://www.youtube.com/watch?v=vVfef8OkSuE&amp;t=3s</a>, accessed 15 September 2019.)</p>\n<p>The significance of drawing in Armitage’s practice, and the way in which works such as these studies form a source of iconography in his painting, is part of what the art historian and curator Catherine Lampert has referred to as his ‘synthetic’ approach: ‘His approach is synthetic but various in terms of composition; sometimes shapes flow, occasionally images are cut and pasted, he experiments with florid colour and sinuous line, and eventually the elements click into place.’ (Catherine Lampert, ‘Michael Armitage: Apparitions and Habitats’, in White Cube 2015, p.29.)</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Michael Armitage</i>, exhibition catalogue, White Cube, London 2015.</p>\n<p>Helen Delaney<br/>September 2019</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-12-01T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "artistRoomsTour": false, "dateText": "14 June 2023 – 28 April 2024", "endDate": "2024-04-28", "exhibitionLegs": [ { "dateText": "14 June 2023 – 28 April 2024", "endDate": "2024-04-28", "id": 13350, "startDate": "2023-06-14", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 10994, "startDate": "2023-06-14", "title": "The Yageo Exhibition: Capturing the Moment", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "29 June 2024 – 16 November 2024", "endDate": "2024-11-16", "exhibitionLegs": [ { "dateText": "29 June 2024 – 16 November 2024", "endDate": "2024-11-16", "id": 15716, "startDate": "2024-06-29", "venueName": "Kaohsiung Museum of Fine Arts (Kaohsiung, Taiwan)", "venueWebsiteUrl": null } ], "id": 11558, "startDate": "2024-06-29", "title": "Capturing the Moment", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Michael Armitage’s work <i>The Promised Land</i> 2019 is a large, landscape format painting, over four metres wide, depicting the chaos and confusion of mass protest. Across the surface of this vast painting, figures jostle in crowds, blow horns and throw missiles. Three figures on the right-hand side of the composition are partially enveloped by what appears to be tear gas, opaque clouds of which are pouring forth from a canister on the ground. A figure, who kneels on the ground and whose face is surrounded by the gaseous cloud, swings a slingshot with his raised right hand. He is flanked by two figures who are either running for cover or charging towards a target. On the left of the canvas, a group of figures display a flag bearing the words ‘Messiah Loves: They Can’t Kill Us All’. In the centre of the canvas, a primate sits beneath a palm tree, squatting on an open newspaper or magazine with the words ‘the paradise edict’ visible. <i>The Paradise Edict</i> is the name of another painting by Armitage, also painted in 2019, which depicts Kiwayu Island in Kenya near the Somali boarder, symbolising both paradise and terror.</p>\n<p>\n<i>The Promised Land</i> 2019 reflects on the political demonstrations following the 2017 general elections in Kenya, Armitage’s country of birth, in which at least forty-five people died when crowds of people took to the streets across the country to protest the outcome. Armitage’s work brings together a multiplicity of narratives drawn from historical and current news media with his own recollections and interpretations of contemporary Kenya. He also combines the cultural heritage of Kenya with western art traditions, citing such figures as Francisco de Goya, Paul Gauguin and Edouard Manet as influences alongside East African artists such as Meek Gichugu, Sane Wadu, Edward Tingatinga and Jak Katarikawe. Armitage paints with oil on Lubugo, a bark cloth which is culturally significant for the Baganda people in Uganda and traditionally used as a burial shroud or in ceremonies. With its characteristic ripples, stitches and holes, it gives a textured surface to Armitage’s paintings even when stretched.</p>\n<p>The art historian and curator Catherine Lampert has written about how Armitage successfully brings together disparate approaches to painting in his work, while retaining an instability that is essential to his practice: ‘His approach is synthetic but various in terms of composition; sometimes shapes flow, occasionally images are cut and pasted, he experiments with florid colour and sinuous line, and eventually the elements click into place … This instability exists in part because the stories that inform Armitage’s paintings have been filtered by inherently unreliable voices.’ <br/>(Catherine Lampert, ‘Michael Armitage: Apparitions and Habitats’, in White Cube 2015, p.29.)</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Michael Armitage</i>, exhibition catalogue, White Cube, London 2015.</p>\n<p>Helen Delaney<br/>September 2019</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-10-10T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>The Promised Land</i> reflects on the political demonstrations following the 2017 general election in Kenya, Armitage’s country of birth. Crowds of protesters took to the streets across the country to dispute the election’s outcome and at least forty-five people died. The painting draws together historical narratives and news media with Armitage’s own recollections and interpretations of contemporary Kenya. The banner held by a protester in the left half of the work references the motif of the nude in European art history, drawing a parallel between political ideas and aesthetic tastes. In the right half, people’s bodies are transformed by encroaching tear gas. The work is painted on Lubugo, a bark cloth which is culturally significant for the Baganda people in Uganda, traditionally used as a burial shroud. </p>\n</div>\n", "display_name": "Display caption", "publication_date": "2022-06-06T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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[ { "append_role_to_name": false, "date": "1918–1979", "fc": "Charles White", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/charles-white-23922" } ]

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[ { "append_role_to_name": false, "date": "1969 – 2016", "fc": "Annie Pootoogook", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/annie-pootoogook-27164" } ]

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[ { "append_role_to_name": false, "date": "1969 – 2016", "fc": "Annie Pootoogook", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/annie-pootoogook-27164" } ]

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[ { "append_role_to_name": false, "date": "1969 – 2016", "fc": "Annie Pootoogook", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/annie-pootoogook-27164" } ]

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[ { "append_role_to_name": false, "date": "1951–1994", "fc": "Liliana Maresca", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/liliana-maresca-28096" }, { "append_role_to_name": false, "date": "born 1958", "fc": "Marcos López", "prepend_role_to_name": true, "role_display": "with", "url": "https://www.tate.org.uk/art/artists/marcos-lopez-29652" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Liliana Maresca with her Artworks</i> is one of a set of three black and white photographs in Tate’s collection from a larger, nonsequential, series taken in 1983 by the Argentinian photographer Marcos López of the Argentinian artist Liliana Maresca alongside her sculptures (see Tate L04550–L04552). The photographs were taken in the Marconetti, an abandoned building located next to Parque Lezama in Buenos Aires that was the home of many artists.</p>\n<p>One image depicts four sculptures by Maresca placed against a wall. Composed from found materials, they display an interest in the part-object that connects to legacies of surrealism but with an industrial aesthetic. Reading from the left, the first sculpture shown consists of a tailor’s dummy that is covered with a striped material and two playing cards. It is accompanied by an oval-shaped form that is based upon an oversized moulded rubber vulva, which leans against the wall. The third sculpture consists of a breast-plate that is supported by a spring attached to a base, while the fourth and final sculpture continues a focus on the chest area by featuring a bodice that has been placed in the middle of a wooden piece of furniture with an iron car axle. While these sculptures were left untitled by the artist, each of the three that reference breast-forms were often called <i>Torso</i> and the sculpture second from the left was known as <i>Carozo de Durazno </i>(Peach Pie). Only the sculpture on the far right still exists and is currently in the collection of the Reina Sofia Museum in Madrid (<a href=\"https://www.museoreinasofia.es/en/collection/artwork/sin-titulo-untitled-489\">https://www.museoreinasofia.es/e/collection/artwork/sin-titulo-untitled-489</a>, accessed 30 October 2019). The others were either destroyed or are thought to be lost. This partly reflects Maresca’s approach to materials at this time, as she rejected the dominant artistic trends of painting in favour of ephemeral installations and performances, which sometimes incorporated and adapted such sculptures. </p>\n<p>The two other images better reflect the series as a whole and depict the artist naked in poses that were specifically conceived as performances for the camera. In one image Maresca stands against a wall with one of her sculptures placed across her upper chest. It consists of a breast-like form attached to curved industrial tubes that extend up towards her head, round her waist and down to her lower belly and around to the back. Seen with her face looking downwards towards the sculpture and her hands covering her genitalia, the image is ambiguous, as the sculpture appears to function as both an appendage to and a reflection of the artist’s body. At the top of the image partial fragments of other objects in the space reflect the domestic setting in which the photographs were taken. This is indicated further in the third photograph that shows the artist sitting cross-legged in the corner of a room near to what appears to be a doorframe. As in the previous image, Maresca appears naked and looks down towards an object cradled in her arms. This is <i>Carozo de Durazno</i>, the vulva-like sculpture which appears second from left in the first photograph described. Where in other images the sculpture acts as a prothesis to the artist’s body and restricts her posture, in this image she both cradles and presents the sculpture to the viewer. </p>\n<p>All three photographs were taken in 1983 by the Argentinian photographer Marcos López and printed by him soon after they were shot. While they are the result of a collaboration, they are considered to be works conceived and realised by Maresca, who was a central figure of the Buenos Aires art scene at this time. López recalled:</p>\n<p class=\"cttext\">\n</p><blockquote>She was a big influence on my work, because through Lili[ana] I forged a relationship with artistic production; a way of interreacting, of learning together, of anarchy, of relation to materials to the act of discarding, to the physical and the visceral side of producing artworks, without any kind of relationship with the market. In those days, it was always useful to have a photographer on hand; I used to get asked to document works. At her house on Estados Unidos, in three or four sessions, we took a series of ten or twenty interesting photos: nudes of her in relation with her work, which in themselves have an artistic and documentary weight. That’s what’s interesting: when the artistic and the documentary occupy the same fuzzy area. But from the start, the intention was to create an artistic product. I saw her work, and thought: ‘How do I know if this is good or bad?’ She created an attraction in me, her extreme freedom…it was like being an altar boy and seeing the Virgin Mary stark naked pouring a can of red synthetic enamel over a crucifix. <br/>(Quoted in Javier Villa, ‘Form = determination: Liliana Maresca 1982–1994’, in Museo de Arte Moderno de Buenos Aires 2016, p.323.)</blockquote>\n<p>Playing with ideas around the fetish and performing for the camera, these early works were considered a radical practice for a woman artist in Argentina. They capture some impression of the sense of freedom at a moment where the social body in the country was transitioning from repressive authoritarianism towards democracy.</p>\n<p>Maresca would go on to stage a number of other performances for López’s camera, including <i>Public Image – High Spheres</i> 1993, which depicted her lying naked over large, oversize newspaper spreads and was created one year before her death from AIDS. Marcos López would later move away from black and white photography towards lurid colour compositions that he has described as being in a ‘Pop Latino’ style.</p>\n<p>\n<b>Further reading</b>\n<br/>María Gainza, ‘Liliana Maresca’, <i>Artforum</i>, no.47, September 2008, p.472.<br/>María Gainza, Laura Hakel, Victoria Noorthoorn, Javier Villa, <i>Liliana Maresca</i>, exhibition catalogue, Museo de Arte Moderno de Buenos Aires 2016.</p>\n<p>Fiontán Moran, Michael Wellen, Inti Guerrero<br/>October 2019</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-12-04T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1973", "fc": "Theaster Gates", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/theaster-gates-17216" } ]

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[ { "append_role_to_name": false, "date": "born 1978", "fc": "Amalia Pica", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/amalia-pica-17764" } ]

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{ "id": 10, "meta": { "type": "art.Classification" } }

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[ { "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" } ]

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[ { "append_role_to_name": false, "date": "born 1981", "fc": "Firelei Báez", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/firelei-baez-30980" } ]

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[ { "artistRoomsTour": false, "dateText": "1 May 2023 – 4 May 2025", "endDate": "2025-05-04", "exhibitionLegs": [ { "dateText": "1 May 2023 – 4 May 2025", "endDate": "2025-05-04", "id": 15496, "startDate": "2023-05-01", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 12723, "startDate": "2023-05-01", "title": "Betye Saar and Firelei Báez", "type": "Collection based display" } ]

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

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p></p>\n<p>Although primarily known as a painter, Riley has made over seventy screenprints since the early 1960s. She has worked with a number of printers over the years at studios such as Kelpra, Advanced Graphics and Artizan Editions, as well as working with independent printers. She composes the images for her prints and then has them executed by professional printmakers. This echoes her painting practice in which, since the 1960s, her paintings have been produced on canvas by assistants based on her own initial designs. Art historian Craig Hartley has written that Riley prefers collaborative relationships in which printers actively suggest changes and improvements as her designs are translated into finished works (Craig Hartley, in <i>Bridget Riley, Complete Prints 1962–2010</i>, London 2010, p.13).</p>\n<p>For her exhibition at the Robert Fraser Gallery in London in 1966, Riley exhibited a suite of seven screenprints on Plexiglas – <i>Fragments</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/riley-untitled-fragment-1-7-p07104\" title=\"View the details of this artwork\"><span>P07104</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/riley-untitled-fragment-7-5-p07110\" title=\"View the details of this artwork\"><span>P07110</span></a>) – for which she wrote a statement about the position printmaking has within her overall practice: ‘During the preparatory work for a painting, I may make images which are tangential to the problems posed by the particular painting. Some of these images I return to and develop later, others remain as fragments of a theme.’ (Quoted in <i>Complete Prints</i> 2010, pp.5–6.) For Riley prints have always been a separate activity from her core practice of making paintings, yet she has also always relied on material thrown up by that working process; printmaking also creates possibilities for her to make work that she could not otherwise achieve through painting on canvas.</p>\n<p>\n<b>Further reading</b>\n<br/>Lynn MacRitchie, Craig Hartley and Karsten Schubert, <i>Bridget Riley, Complete Prints 1962–2010</i>, London 2010, reproduced no.10.<br/>\n<i>Bridget Riley, New Paintings and Gouaches</i>, exhibition catalogue, Waddington Galleries in association with Karsten Schubert, London 2000.<br/>\n<i>Bridget Riley: Prints 1962–2015</i>, exhibition catalogue, Sims Reed Gallery, London 2015, <a href=\"https://issuu.com/lucy_grice/docs/riley-catalogue-p\">https://issuu.com/lucy_grice/docs/riley-catalogue-p</a>, accessed 28 September 2020.</p>\n<p>Helen Delaney<br/>September 2020</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-10-30T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1987", "fc": "Mari Katayama", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/mari-katayama-30022" } ]

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[ { "artistRoomsTour": false, "dateText": "23 October 2023 – 3 November 2024", "endDate": "2024-11-03", "exhibitionLegs": [ { "dateText": null, "endDate": null, "id": 15670, "startDate": null, "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 12863, "startDate": "2023-10-23", "title": "Mari Katayama", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This diptych comprises two large colour photographs that feature the artist Mari Katayama posed in her teenage bedroom in Gunma, Japan. Clothing and fabrics are hung from the walls and ceiling; personal possessions, including sewing equipment and materials, are densely stacked on various surfaces; and a life-size, heavily embroidered soft sculpture in the shape of a human body can be seen lying on the floor. Katayama wears different outfits and wigs in each image. In <i>I’m Wearing Little High Heels </i>she poses to focus the viewer’s attention on her prosthetic right leg and foot. In <i>I Have Child’s Feet </i>she sits on the floor with her pink-coloured prosthetic legs and feet raised up to rest on a frilly hand-embroidered cushion.</p>\n<p>Katayama’s work takes as its starting point her experiences of being born with the developmental condition congenital tibial hemimelia and of living as an amputee: at the age of nine, she elected to have both legs amputated. She seeks not to simply illustrate the physical appearance of her disability, but to fabricate a space in which to reflect on specific experiences of stigmatisation and vulnerability. In doing so, she challenges common misconceptions and assumptions around physical disability.</p>\n<p>Such artworks inform Katayama’s work as an activist and public speaker. Describing her motivation behind these works, Katayama recalled an incident involving a drunk customer at the bar in which she was working who told her that ‘a woman is no longer a woman when not wearing high-heels’. Upset by this comment and frustrated by the fact that high heels for wearers of prosthetic limbs were not readily available, she began to make her own. The work developed into her ‘High Heel Project’, in which she documents her process of making and wearing high heels with artificial legs. Katayama has written of the project:</p>\n<p class=\"cttext\">\n</p><blockquote>In the field of social welfare, the importance of ‘clothing’ is not well recognized, even now. If there were clothes that a disabled person could wear and take off themselves, they may be able to go to the toilet or change their clothes without the help of other people, a factor previously required. Moreover, if the patient or a disabled person could choose their own clothing by their own tastes, clothing could become a big first step toward their social rehabilitation and increased independence. I could not ignore such an issue as this that I came to know and it prompted my project, ‘wearing high-heels with artificial legs’ … All my activities of being myself 193cm tall while wearing high heels have become the High Heels Project.</blockquote>\n<blockquote>(Artist’s website, ‘About “High Heel Project”, <a href=\"http://shell-kashime.com/\">http://shell-kashime.com/</a>, accessed 15 January 2020.)</blockquote>\n<p>As a young child, Katayama was taught to sew by the three generations of women in her family, who made clothes especially for her since clothes for people who wear prosthetic limbs were not available ‘off the shelf’. Her artistic practice thus began with textiles – embroidered soft sculptures featuring crystals, printed images, lace, shells and hair – and she initially took photographs as a means of sharing these textile works with her friends on MySpace. These photographs have subsequently become of equal importance within her practice. They often feature the soft sculptures or textiles and they are sometimes displayed alongside the sculptures themselves.</p>\n<p>\n<i>I’m Wearing Little High Heels </i>and <i>I Have Child’s Feet </i>were displayed at Katayama’s graduate exhibition (Tokyo University of Arts, BankART Studio, 2012) alongside an installation of made and found objects and personal possessions that she arranged on the floor in the shape of a love heart. Seen together, the photographs and installation represent the significance of high heels to Katayama as an artist, woman and a wearer of prosthetic limbs. <br/>\n<br/>The photographs are digital C-type prints on paper, housed in frames of the artist’s choosing. They exist in an edition of ten with two artist’s proofs, Tate’s copies being number three in the edition. They should always be shown together.</p>\n<p>\n<b>Further reading</b>\n<br/>Mari Katayama, <i>Gift</i>, Tokyo 2019.</p>\n<p>Emma Lewis<br/>January 2020</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-07-31T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>I’m wearing little high heels </i>and<i> I have child’s feet</i> feature Katayama posed in her bedroom in Gunma, Japan. She is surrounded by personal possessions – including clothing, fabrics and sewing equipment – and a life-sized, embroidered soft sculpture in the shape of a human body. Both photographs closely relate to Katayama’s work as an activist and public speaker. Frustrated by the fact that high heels for wearers of prosthetic limbs were not readily available, Katayama began to make her own. The work developed into the <i>High Heel Project</i>, where she documents her process of making and wearing high heels with artificial legs.</p>\n</div>\n", "display_name": "Display caption", "publication_date": "2023-10-26T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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[ { "append_role_to_name": false, "date": "1937–2011", "fc": "Luis Fernando Benedit", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/luis-fernando-benedit-30512" }, { "append_role_to_name": false, "date": "1969 – 1973", "fc": "Grupo de Arte y Cibernética Buenos Aires", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/grupo-de-arte-y-cibernetica-buenos-aires-30511" } ]

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