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