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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Presented across three screens, <i>Lobe of the Lung </i>2009 is an immersive video installation, lasting just over fifteen minutes. It depicts a luxurious valley in which the two main characters, a naked woman and a pig, wander. The human and the animal are put on the same plane, each appearing on one of the facing screenings, left and right of the central projection. The woman crawls on all fours, eating apples straight from the grass, in a choreography that very closely emulates the movements of the swine. As the work progresses, the footage becomes more abstract, filmed partly under water in hues of vibrant red, partly in fields of brightly colored tulips. <i>Lobe of the Lung </i>plays on kaleidoscopic colors and distortions, as well as the disproportionate relationship between the scale of the projection and the viewer’s body. The installation, which includes pillows and a carpet, encourages the audience to lie on the floor. This is the only position from which the work can be seen in its entirety. The work offers a non-human centric perspective of the world; its enhanced colors evoke the hues of the internal organs, while the title<i> Lobe of the Lung</i> refers to a portion of the respiratory system.</p>\n<p>As often in her practice, the footage used in <i>Lobe of the Lung </i>appears in other film installations by Rist. The footage appears in <i>Pour Your Body Out </i>2008, a seven-channel video first shown at the Museum of Modern Art in New York in 2008–9. For the nineteenth Biennale of Sydney, Rist paired <i>Lobe of the Lung</i> with two later videos,<i> Mercy Garden Retour Skin </i>from the<i> Mercy Work Family </i>2014 and<i> Worry Will Vanish Relief </i>from the <i>Worry Work Family </i>2014<i>, </i>creating a longer, looped version of the work. <i>Mercy Garden Retour Skin </i>offered audiences a sublimed, aquarium experience, while <i>Worry Work Family </i>offered an entry into the intimate space of our bodies, incorporating close-up footage of human skin.</p>\n<p>By recycling earlier works and fitting them thematically, the artist adapts her works for each venue and presentation. Discussing her longstanding interest in rethinking museums as spaces of shared experience, Rist said: ‘I believe in installation works as places for communal gatherings, where single humans are joined in a communion that is greater than the sum of its parts – a space where a melting of knowledge and feelings occurs, creating a common thought or a giant speech bubble.’ (in conversation with curator Massimiliano Gioni, <i>Pipilotti Rist: Pixel Forest</i>, 2016). Expanding on this idea, in the text accompanying her 2009 Rotterdam exhibition, <i>Elixir. The Video Organism by Pipilotti Rist, </i>she described the nature of this shared experience: ‘the exhibition is similar to a tree, with its subtle complexity. It reminds us of our lungs and their ramifications, or our bodies’ blood vessels and nerves’ (translated by the author, from the artist’s statement, <i>Elixir: The Video Organism Of Pipilotti Rist</i>, Museum Boijmans van Beuningen, 2009).</p>\n<p>Born Elisabeth Charlotte, Pipilotti Rist later changed her name to honor Swedish writer Astrid Lindgren’s children’s book character, Pippi Longstocking – a child heroine who does not want to grow up<b>. </b>She enrolled in art school at the age of twenty-four and initially worked on Super 8 animations and single-screen videos, such as <i>I’m Not The Girl Who Misses Much</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/rist-im-not-the-girl-who-misses-much-t07972\" title=\"View the details of this artwork\"><span>T07972</span></a>), before moving on to develop immersive installations like <i>Lobe of the Lung</i>, and longer feature-length films.</p>\n<p>\n<i>Lobe of the Lung</i> exists in what the artist describes as a ‘family’ of works, that includes two other versions, with four and seven projections respectively. The work has been displayed at the Museum of Modern Art, New York (7-channel version shown in 2008-09); at Museum Boijmans van Beuningen, Rotterdam (2009); Kiasma Museum of Contemporary Art, Helsinki (2009); Fundació Joan Miró, Barcelona; SAPS, Mexico City (2010); Fondazione Nicola Trussardi, Milan; Hayward Gallery, London (2011); Kunsthalle Mannheim (4-channel version, 2012). The later, longer edit including three video-installations, was exhibited at MCA Sydney and Louisiana Museum, Humlebaek, Denmark (2019); and LA MOCA, Los Angeles (2022).</p>\n<p>\n<b>Further Reading</b>\n<br/>\n<i>Pipilotti Rist: Himalaya</i>, exhibition catalogue, Kunsthalle Zurich and Musée d’Art moderne de la Ville de Paris, Paris 1999.<br/>Jane Harris, ‘Psychedelic, Baby: An Interview with Pipilotti Rist’, <i>Art Journal</i>, vol.59, no.4, Winter 2000, <a href=\"http://www.findarticles.com/cf_dls/m0425/4_59/69294352/p1/article.jhtml%22 \\t %22_blank\">www.findarticles.com/cf_dls/m0425/4_59/69294352/p1/article.jhtml</a>, accessed 23 January 2022.<br/>Peggy Phelan, Hans Ulrich Obrist, Elisabeth Bronfen and Pipilotti Rist, <i>Pipilotti Rist</i>, London 2001, reproduced in colour, pp.13–15.<br/>Stephanie Rosenthal (ed.), <i>Pipilotti Rist: Eyeball Massage, </i>exhibition catalogue, Hayward Gallery, London 2011, pp.52–7.<br/>Bice Curiger, Juliana Engberg, Massimiliano Gioni, Joan Jonas, Margot Norton and Gloria Sutton, <i>Pipilotti Rist: Pixel Forest</i>, exhibition catalogue, New Museum, New York 2016. <br/>Olivia Bloom Murphy, ‘Pipilotti Rist Unleashes the Comforts and Terrors of the Technological Sublime’, <i>ArtSlant, </i>2016, chrome-extension://efaidnbmnnnibpcajpcglclefindmkaj/https://files.cargocollective.com/661281/Pipilotti-Rist-Unleashes-the-Comforts-a...f-the-Technological-Sublime---ArtSlant.pdf, accessed 15 November 2023.</p>\n<p>Valentine Umansky<br/>January 2022, edited in November 2023</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-12-05T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Expedition for Four Hands and Accompaniment</i> 2019 is an expansive installation comprising a three-channel video projection with sound, twenty-one large glass sheets resting on stones and a newspaper-format publication. In the videos, two pairs of hands, deliberately ambiguous in gender, perform actions of cutting glass and handling cloth, culminating in a gestural courtship ‘dance’ in the dark and uncertain setting of a cave. This imagery is punctuated by five textual stanzas of a manifesto-poem that celebrates fluidity as a state of being (‘delighted by incomprehensibility and disputability of the picture/in hallucinations we invent ourselves’). Below, spotlit glass sheets reflect the projection onto the gallery walls, distorting the image. Seven of the sheets include text scratched into them with a titanium tool, further proclaiming a challenge to fixed identity categories through poetic expressions (‘You will never be a “whole”; you will be a part that plays out in contact with other surfaces. It comes into existence in motion’), references to gender theory and a tally of trans individuals killed since 2000. An accompanying newspaper-style publication, originally designed to be taken away by visitors but now also displayed in a vitrine if required, contains texts in dedication to Zak Kostopoulos/Zackie Oh, a Greek activist murdered in 2018. Overall, the work makes a case for articulating oneself without relying on secure, fixed notions of identity.</p>\n<p>The work was commissioned by KW Institute for Contemporary Art, Berlin, for the artist’s solo exhibition there in 2019 as part of the Schering Stiftung Art Award. It is a culmination of Daučíková’s ongoing engagement with gender identity, the notion of fluidity and the politics of the body. Since the 1970s, in Czechoslovakia, and then in the Soviet Union from 1979 and following her move to Prague in 1991, she has explored what she terms the ‘mental body’, ‘inbetweenness’ and ‘a positive state of instability’ in relation to her transgender identity, through moving image, performance to camera and the use of glass (Anna Daučíková in conversation with Tate curator Dina Akhmadeeva, August 2020). <i>Expedition for Four Hands and Accompaniment </i>continues these explorations, shifting between the poetic and political register. The hallucinatory, disorientating effect of the reflection of the projections off the glass sheets and the translucence of the moving image and sculpture elements that exist within the installation – challenging the conventions of moving image – embody the fluidity of identity that the work articulates.</p>\n<p>Alongside her art practice, Daučíková has been a co-editor of and contributor to the Slovak feminist magazine <i>ASPEKT </i>since 1993, which has significantly contributed to the discourse around feminism and gender in the region. This has, in turn, informed the use of language throughout Daučíková’s moving image works, including <i>Expedition for Four Hands and Accompaniment.</i>\n</p>\n<p>\n<b>Further reading</b>\n<br/>‘Search in Clouded Terrain: Anna Daučíková in conversation with Christiane Erharter’, in Christiane Erharter et al. (eds.), <i>Pink Labor on Golden Streets: Queer Art Practices</i>, Berlin 2015, pp.186–96.<br/>Monika Mitášová (ed.), <i>Anna Daučíková: Transformation</i>, Slovak National Gallery, Bratislava 2018.<br/>Paul B. Preciado, ‘Anna Daučíková’, <i>documenta 14 Daybook</i>, 2017, <a href=\"file:///C:\\\\Users\\\\miche\\\\OneDrive\\\\Desktop\\\\TATE%20CCs%20TO%20DO\\\\CC%20Dec%202020%20my%20edits\\\\Edited%20texts\\\\%3chttps:\\\\www.documenta14.de\\\\en\\\\artists\\\\13567\\\\anna-daucikova%3e\"><i>&lt;</i>https://www.documenta14.de/en/artists/13567/anna-daucikova&gt;</a>, accessed 3 August 2020.</p>\n<p>Dina Akhmadeeva<br/>August 2020</p>\n</div>\n", "display_name": "Summary", "publication_date": "2024-03-05T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1961", "fc": "Shuvinai Ashoona", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/shuvinai-ashoona-31638" } ]

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[ { "artistRoomsTour": false, "dateText": "15 January 2024 – 30 April 2024", "endDate": "2024-04-30", "exhibitionLegs": [ { "dateText": "15 January 2024 – 30 April 2024", "endDate": "2024-04-30", "id": 15709, "startDate": "2024-01-15", "venueName": "The Perimeter (London, UK)", "venueWebsiteUrl": null } ], "id": 12898, "startDate": "2024-01-15", "title": "Shuvinai Ashoona", "type": "Loan-out" } ]

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[ { "append_role_to_name": false, "date": "born 1970", "fc": "Jenny Saville", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/jenny-saville-26385" } ]

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[ { "artistRoomsTour": false, "dateText": "8 May 2023", "endDate": null, "exhibitionLegs": [ { "dateText": null, "endDate": null, "id": 15290, "startDate": null, "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 12559, "startDate": "2023-05-08", "title": "Galleries 44, 46-47", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "19 June 2025 – 31 January 2026", "endDate": "2026-01-31", "exhibitionLegs": [ { "dateText": "19 June 2025 – 7 September 2025", "endDate": "2025-09-07", "id": 16026, "startDate": "2025-06-19", "venueName": "National Portrait Gallery (London, UK)", "venueWebsiteUrl": "http://www.npg.org.uk" }, { "dateText": "1 October 2025 – 31 January 2026", "endDate": "2026-01-31", "id": 16027, "startDate": "2025-10-01", "venueName": "Modern Art Museum of Fort Worth (Fort Worth, USA)", "venueWebsiteUrl": "http://www.fortworthmuseum.org" } ], "id": 13145, "startDate": "2025-06-19", "title": "Jenny Saville", "type": "Loan-out" } ]

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[ { "append_role_to_name": false, "date": "born 1938", "fc": "Joel Meyerowitz", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/joel-meyerowitz-31283" } ]

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[ { "append_role_to_name": false, "date": "born 1978", "fc": "Anne Imhof", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/anne-imhof-28492" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div><div></div><p><i>Sunset 312</i><span> is a very large, unframed oil painting on canvas. It is representative of a significant branch of Imhof</span><span>’</span><span>s painting which takes two major forms: abstract monochromes and hyper-real figuration with a relationship to photography. A key example of the latter, </span><i>Sunset 213</i><span> speaks to Imhof</span><span>’</span><span>s invocation of landscape, the sublime, and her play on the relationship between lens-based images and choreography in real time. A relationship to contemporary approaches to displaying photography </span><span>– </span><span>for example the work of Wolfgang Tillmans (born1968) </span><span>– </span><span>can be seen in Imhof</span><span>’</span><span>s preferred method of hanging the work, by taping it, unframed, to the wall.</span></p><p><span>The installation and performance titled</span><i> Sex</i><span>, originally held at Tate Modern in 2019 and recorded in the related video work </span><i>Sex </i><span>2019</span><span>–</span><span>20, represented the most ambitious approach made by the artist to create large-scale live work since 2010. </span><i>Sunset 312</i><span> was displayed within this installation, within the South Tank at Tate Modern, alongside Imhof</span><span>’</span><span>s black and white </span><i>Scratch</i><span> paintings. A series of similar paintings, also sunsets, were shown at Imhof</span><span>’</span><span>s subsequent solo exhibition, </span><i>Imagine</i><span>, at Buchholz Gallery, Berlin, in September 2019. </span></p><p><span>Imhof</span><span>’</span><span>s entire practice is rooted in a relationship to painting and this is evident both in paintings such as the </span><i>Sunset</i><span> or </span><i>Scratch</i><span> paintings, which are frequently included in her installations, as well as her overall approach to composition. Here, the image of the burning red sunset tipped to a vertical orientation evokes both the conceptual bleakness of the post-internet generation</span><span>’</span><span>s </span><span>‘</span><span>no future</span><span>’ </span><span>under late capitalism, as described by the critic Mark Fisher in his book </span><i>Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures</i><span> (2014), and the literal, impending catastrophe of climate emergency.</span></p><p><span>Aspects of Imhof</span><span>’</span><span>s performance </span><i>Sex</i><span>, and the related film, also invoke Imhof</span><span>’</span><span>s embeddedness in traditions of historical European painting, for example the language of still life </span><i>Memento Mori</i><span> painting, through her use of vape trails, candles, skull motifs, burning flowers and the pouring of sugar as a marker of passing time. In </span><i>Sex</i><span> we see the pier structures </span><span>– </span><span>built by the artist as platforms both for performers to inhabit and for the audience to occupy as viewing positions </span><span>– </span><span>effecting shifts between upper and lower, top and bottom that invoke the notion of the horizon, and of </span><span>‘</span><span>landscape</span><span>’</span><span>, even whilst it was not visible in the interior space of the performance. Imhof</span><span>’</span><span>s choice to create such dramatic perspectives also points to her interest in the sublime, especially in the Romantic landscape paintings of artists such as Caspar David Friedrich (1774</span><span>–</span><span>1840). </span></p><p><b>Further reading</b></p><p><i>Anne Imhof: Angst</i><span>, exhibition catalogue, Kunsthalle Basel 2016.</span></p><p><i>Anne Imhof: Faust</i><span>, exhibition catalogue, German Pavilion, 57th Venice Biennale, Venice 2017.</span></p><p><span>Carolyn Christov-Bakargiev (ed.), </span><i>Anne Imhof: Sex</i><span>, exhibition catalogue, Castello di Rivoli, Turin 2021.</span><span> </span></p><p><span>Catherine Wood</span></p><p><span>January 2021</span></p><div></div></div>", "display_name": "Summary", "publication_date": "2024-06-04T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1978", "fc": "Anne Imhof", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/anne-imhof-28492" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div><div></div><p><i>Untitled (Imagine) </i><span>2019 is a sculpture in the form of a red, powder-coated steel rectangular platform on a pedestal base. The top of the platform acts as a support for a foam mattress and some cans of Lipton Ice Tea rest on the edge of the platform and the base, while a small silver necklace and a flag </span><span>– </span><span>bearing the word </span><span>‘</span><span>AKTION</span><span>’ </span><span>and a logo that suggests organised protest </span><span>– </span><span>are arranged on the top of the mattress. The structure is typical of the raised elements of </span><span>‘</span><span>staging</span><span>’ </span><span>used by Imhof as plinths for performers in her live work. She shows these objects both within live performances and as sculptures, independent of the performances, in her gallery installations. The </span><span>‘</span><span>still life</span><span>’ </span><span>elements that adorn the pedestal are also typical of Imhof</span><span>’</span><span>s arrangements of materials and things that might be found within a hang-out space, a kind of </span><span>‘</span><span>teenage bedroom</span><span>’ </span><span>aesthetic that sets the scene for imagined social activity and can also be used by performers during live events. Platforms such as this have been a key part of the language of Imhof</span><span>’</span><span>s installations alongside the piers and false floors she has been making since 2017: they often appear, accessible via ladders, as pedestals for the live figures she casts in the performance part of the work.</span></p><p><span>This particular platform was included in the artist</span><span>’</span><span>s performance </span><i>Sex</i><span>, which was commissioned by and performed live onsite at Tate Modern, London between 22 and 31 March 2019, in cooperation with Castello di Rivoli, Turin and the Art Institute of Chicago. The atmosphere of the live performance is documented in the three-hour-long film of the same title, also in Tate</span><span>’</span><span>s collection (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/imhof-sex-t16177\" title=\"View the details of this artwork\"><span>T16177</span></a>), which includes glass, wood and scaffold installations, including white versions of this high red platform, arcade-like passages and viewing piers. These shifts in viewing perspective and uses of sculpture and architecture to create elevations and sightlines are an important part of Imhof</span><span>’</span><span>s pictorial language. </span></p><p><span>The combination of the video, this sculpture and a related painting </span><span>– </span><i>Sunset 312</i><span> 2019 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/imhof-sunset-312-t16175\" title=\"View the details of this artwork\"><span>T16175</span></a>) </span><span>– </span><span>exemplifies Imhof</span><span>’</span><span>s bringing together of painting, sculpture, architecture and performances set within complex installation environments. Working with dancers, performers and musicians, she has become known for the creation of large, operatic-scale, complex, durational choreographies that conjure a real-time equivalence to the experience of life within our contemporary digital landscape. Her approach to incorporating painting and sculpture within a performance environment is emblematic of an important development in contemporary art in the 2010s. Performers appear as mannequin-like images, often behind glass; perspectives and sightlines for the audience are often deliberately obscured or shifted to create frustration and a desire to see, whilst also presenting epic, cinematic tableaux and scenographies. </span></p><p><b>Further reading</b></p><p><i>Anne Imhof: Angst</i><span>, exhibition catalogue, Kunsthalle Basel 2016.</span></p><p><i>Anne Imhof: Faust</i><span>, exhibition catalogue, German Pavilion, 57th Venice Biennale, Venice 2017.</span></p><p><span>Carolyn Christov-Bakargiev (ed.), </span><i>Anne Imhof: Sex</i><span>, exhibition catalogue, Castello di Rivoli, Turin 2021.</span><span> </span></p><p><span>Catherine Wood</span></p><p><span>January 2021</span></p><div></div></div>", "display_name": "Summary", "publication_date": "2024-06-04T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1961–1998", "fc": "Donald Rodney", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/donald-rodney-3076" } ]

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[ { "artistRoomsTour": false, "dateText": "31 January 2024 – 5 January 2025", "endDate": "2025-01-05", "exhibitionLegs": [ { "dateText": "31 May 2024 – 8 September 2024", "endDate": "2024-09-08", "id": 15294, "startDate": "2024-05-31", "venueName": "Spike Island (Bristol, UK)", "venueWebsiteUrl": null }, { "dateText": "27 September 2024 – 5 January 2025", "endDate": "2025-01-05", "id": 15295, "startDate": "2024-09-27", "venueName": "Nottingham Contemporary (Nottingham, UK)", "venueWebsiteUrl": "http://www.nottinghamcontemporary.org/" }, { "dateText": "12 February 2025 – 18 May 2025", "endDate": "2025-05-18", "id": 15900, "startDate": "2025-02-12", "venueName": "Whitechapel Gallery (London, UK)", "venueWebsiteUrl": "http://www.whitechapel.org/" } ], "id": 12562, "startDate": "2024-01-31", "title": "Donald Rodney", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Psalms</i> 1997 consists of an empty motorised wheelchair to which the artist added a neural computer, sensors and a camera. It is programmed to navigate independently through the gallery space, following a carefully scored path in a figure of eight configuration. Whenever the wheelchair encounters an object or person in its path, it stops moving. The number eight references harmony, peace and balance, but also represents infinity. <i>Psalms</i> bears testament to Rodney’s thinking around his own physical frailty and eventual absence as he was dealing with sickle cell anemia and preparing for hip replacement surgery which would drastically impact his mobility.<i> Psalms</i> uses eight sonar sensors, shaft-encoders, a video camera and a rate gyroscope to determine its position in the gallery. For this complex construction, Rodney collaborated with robotic technology specialists Guido Bugmann and Mike Philips. The team received funding from the Henry Moore Foundation for the development of the work. This collaborative way of working was typical during the late stages of Rodney’s career. </p>\n<p>The work was developed for Rodney’s solo exhibition <i>Nine Night in Eldorado</i> that opened at the South London Gallery on 10 September 1997. This exhibition was dedicated to Rodney’s father, who had died the year before. <i>El Dorado</i> (1966), a Western starring John Wayne, was Rodney’s father’s favourite film and ‘nine night’ refers to a Jamaican tradition where family members of the deceased reminisce about their loved ones over a period of nine evenings. Rodney was unable to attend the opening of his exhibition because of his deteriorating physical condition. <i>Psalms</i> formed the centrepiece of the show but also functioned as a stand-in for the artist’s absent body as well as that of his father. Curator Jane Bilton wrote in the exhibition brochure: ‘Our fear of automata is again harnessed in <i>Psalms</i>, as the empty wheelchair courses through its various trajectories on a sad and lonely journey of life, a journey to nowhere. Its movements repeat like an ever-recurring memory, a memory of another life and another journey, that of Donald Rodney’s father.’ (South London Gallery 1997, n.p.)</p>\n<p>During his lifetime, Rodney produced a large number of sketches and collages that provide insight into his thoughts, concerns and state of mind. Many sketches functioned as initial designs for planned works and Rodney included empty wheelchairs in several of these. In the sketch <i>Ancestral Seat </i>1993, held in Tate Archive, Rodney visualised a wheelchair carefully balanced on top of high piles of books. At first sight the composition might suggest a throne rather than a wheelchair. Like <i>Psalms</i>, the drawing reveals Rodney’s interest in political structures, hierarchies and the politics of care. A number of his other works, such as <i>In the House of My Father</i> 1996–7 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/rodney-in-the-house-of-my-father-p78529\" title=\"View the details of this artwork\"><span>P78529</span></a>) and <i>Visceral Canker</i> 1990 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/rodney-visceral-canker-t12769\" title=\"View the details of this artwork\"><span>T12769</span></a>), also deal with these issues alongside the artist’s awareness of his own mortality.</p>\n<p>In the early 1980s Rodney had joined the British Black Arts Movement, working closely with artists such as Eddie Chambers (born 1960) and Keith Piper (born 1960) who he had met while studying at Trent Polytechnic, Nottingham. His practice continued to focus on ideas of identity, family, home and Britishness – particularly with respect to a British, Afro-Caribbean diaspora. Rodney’s critical thinking around being a Black artist in the often overwhelmingly white spaces of art institutions is reflected in <i>Psalms. </i>Art critic Sinéad Gleesan has pointed out that ‘visitors could ignore or engage with the chair as it circled the space in sequences, and the camera operated as both Rodney’s eyes and his presence in the gallery. The chair refutes the gaze of strangers who stare at disabled or non-confirming bodies; it is also a stand-in for a body of colour in an overwhelming white space of the art institution.’ (Sinéad Gleeson, ‘A Different Kind of Healing’, <i>Frieze</i>, no.213, September 2020, p.70.)</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Body Visual: Helen Chadwick, Letizia Galli, Donald Rodney</i>, exhibition catalogue, Barbican Centre, London 1996, pp.29–32.<br/>\n<i>Nine Night in Eldorado</i>, exhibition catalogue, South London Art Gallery, London 1997.<br/>Eddie Chambers, ‘My Catechism: The Art of Donald Rodney’, <i>Third Text</i>, no.44, Autumn 1998, pp.43–54.</p>\n<p>Mels Evers<br/>January 2021</p>\n</div>\n", "display_name": "Summary", "publication_date": "2024-04-02T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1955", "fc": "(E-E) Evgenij Kozlov", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/evgenij-kozlov-30560" } ]

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[ { "append_role_to_name": false, "date": "1918–1964", "fc": "Peter Lanyon", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/peter-lanyon-1467" } ]

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[ { "append_role_to_name": false, "date": "born 1971", "fc": "Michael Fullerton", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/michael-fullerton-8361" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Fullerton’s work explores the recording, transmission and control of information. He is interested in painting in an age of information and mass media circulation. For him, painting is a form of mass communication. The broadcaster and radio DJ John Peel was an ideal subject for Fullerton as he remained a champion of ‘underground’ music yet had wide appeal to people of all ages. Peel sat for Fullerton a number of times shortly before his death in 2004. Fullerton was influenced by 18th century artist Thomas Gainsborough who painted flattering portraits of society figures of his day.</p>\n</div>\n", "display_name": "Online caption", "publication_date": "2017-07-07T00:00:00", "slug_name": "online-caption", "type": "ONLINE_CAPTION" } ]

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