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| Jane Simpson Sunset Still Life 2000 digital print Tate Gallery |
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| Thomas Demand Zeichensaal (Drafting Room) 1996 chromogenic print Tate Gallery |
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| 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)
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| Tacita Dean Wasp 2000 chromogenic print Tate Gallery |
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| Jeff Wall Diagonal Composition 1993 transparency in lightbox Tate Gallery |
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| Richard Hamilton Bathroom - fig. 1 1997 digital print Tate Gallery |
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| Richard Hamilton Bathroom - fig. 2 1998 digital print Tate Gallery |
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| Richard Hamilton Kent State 1970 screenprint- Tate Gallery |
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| Catherine Yass Stage 1997 screenprint Tate Gallery |
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| 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)
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| Sam Taylor-Johnson Soliloquy I 1998 chromogenic print Tate Gallery |
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| Sam Taylor-Johnson Soliloquy II 1998 chromogenic print Tate Gallery |
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| Matthew Tickle Nowhere 2007 digital print Tate Gallery |
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| Alan Michael Flags at Le Havre 2008 digital print Tate Gallery |