VIZUĀLO MĀKSLU PORTĀLS
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| Žurnāls "TATE ETC." Nr.21 www.tate.org.uk/tateetc TATE ETC. Issue 21. Visiting and Revisiting Art, etcetera. | ||||||||||
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| Highlights include… Ed Ruscha on John Everett Millais 'Watercolour' by David Attenborough, Deanna Petherbridge, Vidya Gastaldon and Robert Macfarlane Francesco Bonami, Marco Barrera Bassols & Jorge Macchi on Gabriel Orozco Charlotte Klonk, Miklas Maak & Thomas Demand on museum display Christopher Turner on blots Wulf Herzogenrath on Nam June Paik Anna Dezeuze on the void Ed Ruscha on John Everett Millais Brian Dillon on Susan Hiller Simon Starling on Project for a Masquerade William Jeffett on Joan Miró Describing Millais' Ophelia as "a trigger in my art; an inspiration for what I'm doing", American artist Ed Ruscha reveals a long-held fascination with one of Tate's most admired paintings and explains the impact it has had on his work. Tate Modern's forthcoming exhibition explores Joan Miró's political engagement, his Catalan identity, and resonances the Spanish Civil War and Franco's regime had on his work. Here, William Jeffert considers his series Burnt Canvases as "a protest constructed within the practice of art." In her mixed-media installations and video works, Susan Hiller's art journeys through the intangible landscapes of imagination, dreams and memories. Anticipating her forthcoming Tate survey exhibition, Brian Dillon examines the "rigorous ambiguity" that is central to much of Hiller's work. To accompany the grand survey of watercolour painting in Great Britain to be staged at Tate Britain, TATE ETC. invites a selection of naturalists, writers, artists, editors and enthusiasts to celebrate this persistent medium. Mathew Paris's thirteenth-century Map of the British Isles to Paul Nash's early twentieth-century Wire, the variety of styles, subjects and techniques found in these images offers the viewer an alternative history of art. Ever since its debut at the Venice Biennale in 1993, Gabriel Orozco's Empty Show Box has provoked controversy. The curator of his Venice show Francesco Bonami looks back at how the Mexican emerged as an important figure in contemporary art. Plus Marco Barrera Bassols recalls how he helped Orozco to find and assemble a whale skeleton for his extraordinary piece Mobile Matrix. The Romantics display in the Clore Galleries at Tate Britain features more than 170 paintings and prints, as well as photographs from the 1970s to the present day. Nicholas Alfrey questions how these photographs articulate the legacies of British Romantic art. "The blot has been the rawest and most blatant expression of artistic debates about interpretation." Examining the work and theories of artists from Leonardo da Vinci to Cornelia Parker and Vik Muniz, Christopher Turner explores the power accidental marks have held in the creation of art. Describing Millais' Ophelia as "a trigger in my art; an inspiration for what I'm doing", American artist Ed Ruscha reveals a long-held fascination with one of Tate's most admired paintings and explains the impact it has had on his work. Often considered the father of video art, the pioneering Korean-born American artist and composer Nam June Paik has collaborated with many fellow avant-garde practitioners throughout his career, often with notorious results. On the eve of a retrospective at Tate Liverpool, Wulf Herzogenrath celebrates the early decades of Paik's remarkable career. "anti-technological technology." Nam June Paik p32 "a dragonfly, a caterpillar, a stag beetle… a greyhound, an African parrot… gaudy macaws and a marmoset." David Attenborough, p52 "I feel as if there is a little silver thread between that painting and mine" Ed Ruscha, p34 "Embarrassing, disquieting, unspeakable." Christopher Turner, p62 "It's the most Futurist painting of all—so far it is only signed, and I'll never paint it." Anna Dezeuze sites a French cartoon from 1912. "My ideal would really be just to pick up a handful of paint and throw it at the canvas and hope that the portrait was there." Francis Bacon, p65 "I was glowing. Everything was glowing…It was a marvel." Susan Hiller, Witness, p39 "Improvise with rage." Joan Miró, p68 www.tate.org.uk/tateetc/subscribe | ||||||||||
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