Thursday, October 18, 2018

Post-Millennial and Two-Dimensional (Tate Gallery)

Virginia Chihota
The Constant Search for Self
2013
monoprint, oil stick and ink on paper
Tate Gallery

Lynette Yiadom-Boakye
10pm Saturday
2012
oil paint on canvas
Tate Gallery

Lucy McKenzie
Side Entrance
2011
oil paint on canvas
Tate Gallery

Tala Madani
A with Wagon
2010
oil paint on panel
Tate Gallery

A Term

At the last minute a word is waiting
not heard that way before and not to be
repeated or ever be remembered
one that always had been a household word
used in speaking of the ordinary
everyday recurrences of living
not newly chosen or long considered
or a matter for comment afterward
who would ever have thought it was the one
saying itself from the beginning through
all its uses and circumstances to
utter at last that meaning of its own
for which it had long been the only word
though it seems now that any word would do

– W.S. Merwin, from The Pupil (Knopf, 2001)

Cathy Wilkes
Daddy Resting
2009
oil paint on canvas
Tate Gallery

Gary Hume
Red Barn Door
2008
enamel paint on aluminum
Tate Gallery

Robert Mangold
Column Structure II
2006
acrylic paint on canvas
Tate Gallery

Gillian Carnegie
Thirteen
2006
oil paint on board
Tate Gallery

Gerhard Richter
Abstract Painting (Skin) (887-3)
2004
oil paint on canvas
Tate Gallery

Sigmar Polke
Untitled (Triptych)
2002
polyester resin and acrylic paint on fabric
Tate Gallery

A Penitence

The joints within you
still won't dance.
Why the intense outcome?

Diamonds for every budget
customize tattered spaces.
It's nothing more, nor less,
than a seeming apocalypse:
air filled with air.

Someone will come along
to take care of you,
polish the millions of you
talking slang, happy as a zoo.
And it was so nice,
these leg warmers,
or a casual fugue.

Someday it will be as it is remembered.
Hurry, interesting life.

– John Ashbery, from Planisphere (Ecco, 2009)

Paul Feiler
Janicon LXII
2002
oil paint on canvas
Tate Gallery

Howard Hodgkin
Seafood
2001
etching, aquatint and carborundum on paper
Tate Gallery

Howard Hodgkin
Tears Idle Tears
2001
etching, aquatint and carborundum on paper
Tate Gallery

Jock McFadyen
Purfleet: from Dracula's Garden
2001
oil paint on canvas
Tate Gallery

Wednesday, October 17, 2018

Post-Millennial Canvases (Tate Gallery)

Marlene Dumas
Lord Alfred Douglas (Bosie)
2016
oil paint on canvas
Tate Gallery

Federico Herrero
Crab
2014
acrylic paint, oil paint, spray paint and felt-tip pen on canvas
Tate Gallery

Callum Innes
Untitled No. 51
2011
oil paint on canvas
Tate Gallery

Suburban Burma

Don't try this at home. On second thought, come in,
your tumbling face ungladden. And see what happens.

The boy said, I have the look of two
through the other side of the shower. And how do we
get that, except by adding it up
in one long, fateful column.
The others are with you. Space occurs. Naturally. Not every
impulse makes it through to. You have you.
Are you a big person in the morning?

Angels of the New Year winnow followers.
We go through the motions
again. And breezes come in.
Those who remember the past are doomed to repeat it.
Plus, it's part of history.
We, however, have no such druthers.
We'll build a higher vandalism, "with the look of ending."
We were both trying to hide.

A hotel is not a big clay window
stepfathered in,
resists any effort to change the subject.
Be calm and get your stuff.

– John Ashbery, from Quick Question (Ecco, 2012)

Callum Innes
Untitled No. 39
2010
oil paint on canvas
Tate Gallery

Simon Ling
Untitled
2010
oil paint on canvas
Tate Gallery

Eberhard Havekost
Infinity 1 and 2
2008
oil paint on canvas
Tate Gallery

Cy Twombly
Untitled (Bacchus)
2008
acrylic paint on canvas
Tate Gallery

Merlin James
Frontage
2008
acrylic paint on canvas
Tate Gallery

Thomas Scheibitz
90 Elements
2007
oil paint on canvas
Tate Gallery

Basil Beattie
The Difference Between II
2005
oil paint and wax on canvas
Tate Gallery

To The Soul

Is anyone there
if so
are you real
either way are you
one or several
if the latter
are you all at once
or do you
take turns not answering

is your answer
the question itself
surviving the asking
without end
whose question is it
how does it begin
where does it come from
how did it ever
find out about you
over the sound
of itself
with nothing but its own
ignorance to go by

– W.S. Merwin, from New Poems (2004), published in Migration: New and Selected Poems (Copper Canyon Press, 2005)

R.B. Kitaj
Death's Door
2005
oil paint on canvas
Tate Gallery

Luigi Schiavonetti after William Blake
Death's Door
before 1810
etching
Wadsworth Atheneum, Hartford, Connecticut

Frank Nitsche
BOT 18 2004
2004
oil paint on canvas
Tate Gallery

Wilhelm Sasnal
Untitled (a)
2004
oil paint on canvas
Tate Gallery

Lucian Freud
David and Eli
2003-2004
oil paint on canvas
Tate Gallery
(on long-term loan from a private collection)

Tuesday, October 16, 2018

Manipulating Mechanical Images for Art Purposes

Jane Simpson
Sunset Still Life
2000
digital print
Tate Gallery

Thomas Demand
Zeichensaal (Drafting Room)
1996
chromogenic print
Tate Gallery

Julian Opie
Voices Footsteps Telephone
2000
chromogenic print
Tate Gallery

Programmer

What kind of nuthouse is this
Hansel wondered. Early, evidently,
yet what crumbs had led us to this door,
and where, or why, are nothing to me now.
Seldom do they diminish. Another time
every year who creeps and scrambles may read
if not divine. What makes everything today
so sexy, so friendly? It was a disaster in history,
one fine day. Anyway it was at long last,

no one clubbable came to the door.
An existence like a sea urchin's
is what I inherited. Avast. And in the twinkling
some of it belongs to others, and we love them
as herring love the sea. You tell them.
Make yourselves at home the witch said,
I'll only be a minute. The words, "I live,
I fought," form like marbles in the mouth.

The regional farm district is shut.
It's all a bit orthodox, yet one says, so long,
it's a period. Like waiting for a cold to break.
Was it a dream?

– John Ashbery, from Planisphere (Ecco, 2009)

Tacita Dean
Wasp
2000
chromogenic print
Tate Gallery

Jeff Wall
Diagonal Composition
1993
transparency in lightbox
Tate Gallery

Richard Hamilton
Bathroom - fig. 1
1997
digital print
Tate Gallery

Richard Hamilton
Bathroom - fig. 2
1998
digital print
Tate Gallery

Richard Hamilton
Kent State
1970
screenprint-
Tate Gallery

Catherine Yass
Stage
1997
screenprint
Tate Gallery

Catherine Yass
Bankside: Cherrypicker
2000
transparency in lightbox
Tate Gallery

Daylight

It is said that after he was seventy
Ingres returned to the self-portrait
he had painted at twenty-four and he
went on with it from that far off though
there was no model and in the mirror
only the empty window and gray sky
and the light in which his hand was lifted
a hand which the eyes in the painting would not
have recognized at first raised in a way
they would never see whatever he might
bring to them nor would they ever see him
as he had come to be then watching them
there where he had left them and while he looked
into them from no distance as he thought
holding the brush in the day between them

– W.S. Merwin, from The Pupil (Knopf, 2001)

Sam Taylor-Johnson
Soliloquy I
1998
chromogenic print
Tate Gallery

Sam Taylor-Johnson
Soliloquy II
1998
chromogenic print
Tate Gallery

Matthew Tickle
Nowhere
2007
digital print
Tate Gallery

Alan Michael
Flags at Le Havre
2008
digital print
Tate Gallery

Monday, October 15, 2018

Color Visions by Catherine Yass

Catherine Yass
Corridors
1994
transparency in lightbox
Tate Gallery

Catherine Yass
Corridors
1994
transparency in lightbox
Tate Gallery

Catherine Yass
Corridors
1994
transparency in lightbox
Tate Gallery

Catherine Yass
Corridors
1994
transparency in lightbox
Tate Gallery

from Minor Traveler

The cure is a monocle.
Under tiers of the opera, crowned with a serious light
and the swansdown, that everybody said, but here
its lightness urges, bewitched, perhaps not.
The gold line is fine, as is the steal, but mention
bananas and the girders crumble too eager to show
what they're made of, show off the sessions
and sessions of internal rhyme,
too easily to climb.
We flowers fade, happy, at sunset.

– John Ashbery, published in New American Writing, Spring 1990

Catherine Yass
Corridors
1994
transparency in lightbox
Tate Gallery

Catherine Yass
Corridors
1994
transparency in lightbox
Tate Gallery

Catherine Yass
Corridors
1994
transparency in lightbox
Tate Gallery

Catherine Yass
Corridors
1994
transparency in lightbox
Tate Gallery

At Night Before Spring

Two nights before the equinox that will
turn into spring in the dark the next time
before the last spring in a thousand years
as we count them I find myself looking
at the transparent indigo humor
that we call the night back in the daytime
and I see beyond acceleration
each of the lights complete in its own time
in the stillness of motion the stillness
with no beginning all in one moment
a friend beside me whom I do not see
without words making it come clear to me
the youth of heaven the ages of light
each of them whole in the unmoving blue
each with its number known in the unknown
each with its only self in the one eye
even as I watch it we are passing
the numbers are rising as I am told
they will rise and it will be spring again
it seems that I have forgotten nothing
I believe I have not lost anyone

– W.S. Merwin, from The Pupil (Knopf, 2001)

Catherine Yass
Northwest C4
2001
digital print on paper
Tate Gallery

Catherine Yass
Northwest C6
2001
digital print on paper
Tate Gallery

Catherine Yass
Northwest D2
2001
digital print on paper
Tate Gallery

Catherine Yass
Northwest D6
2001
digital print on paper
Tate Gallery

Catherine Yass
Northwest F3
2001
digital print on paper
Tate Gallery

Catherine Yass
Northwest F6
2001
digital print on paper
Tate Gallery