Artist Linder presents a new dance performance, with costumes by Pam Hogg, in this TateShot video
Mark Ruwedel talks about photography in this TateShots video interview.
Curator Chris Stephens introduces Tate Britain’s new displays
Zarina Hashmi left India in 1958. Around the same time, her family were subject to relocation from Delhi to Karachi following the partition of India and Pakistan. Consequently exile and the loss of the family home are embedded in her work, whose spare visual vocabulary often evokes physical and psychological spaces relating to memories of childhood and later life.
Letters from Home 2004 is a set of woodcuts in which handwritten letters from her sister Rani are overlaid by maps and floorplans that represent the artist’s travels and places where she has lived. The Urdu text signals Hashmi’s abiding relationship to her native tongue as well as an entire linguistic culture ruptured by partition.
Roy Lichtenstein and Allen Jones were not just significant figures in the story of Pop Art, they were also close friends. Here, Jones remembers what captivated him when, as a young British artist in New York, he first encountered the work of Lichtenstein, and how it drastically changed the course of his own career, opening up new ways of thinking about what could be considered art.
Lichtenstein: A Retrospective
Tate Modern: Exhibition21 February – 27 May 2013
‘I tried to see how it would be possible to draw a landscape that was not a landscape, but a period of landscape,’ Opie tells TateShots, as he describes the process of creating his large-scale wall painting: There are hills in the distance (c)1996.
Opie’s work is on show in Looking at the View, a thematic display at Tate Britain that finds parallels in the way artists have framed our vision of the landscape over the last 300 years.
Roy Lichtenstein at Tate Modern is a momentous show, bringing together 125 of his most definitive paintings and sculptures and reassessing his enduring legacy. The first full-scale retrospective of this important artist in over twenty years, it showcases such key paintings as Look Mickey 1961 lent from the National Gallery Art, Washington and his monumental Artist’s Studio series of 1973–4. Other noteworthy highlights include Whaam! 1963 – a signature work in Tate’s collection – and Drowning Girl 1963 on loan from the Museum of Modern Art, New York. Here, curator Iria Candela presents some of the highlights.
Lisa Milroy invites us into her East London studio and talks about her long-standing love affair with paint. Milroy first gained recognition in the 1980s for her stylised paintings of inanimate objects, such as shoes, doorhandles, and lightbulbs, though her subject matter and style has varied widely since. 'Physically engaging with the paint allows you to tap into different parts of yourself,' she says.
Choosing to leave Germany in 1937 after his work was condemned as ‘degenerate’ by the Nazi government, Schwitters settled in Norway for three years. He escaped to Britain in June 1940 after the Nazi occupation of Norway.
Schwitters was one of many German exiles, including a significant number of artists, to be interned on the Isle of Man during the Second World War. Whilst in the camp he produced over 200 works, including many portraits. On release in 1941 he became involved with the London art scene, and continued to make portraits of those around him. TateShots went to meet some of his sitters.
For the Tate Britain Commission 2013, Simon Starling has created a film called Phantom Ride which explores the history of the Duveen Galleries and revisits some of the artworks which have been installed there. Using motion control technology for filming, and complex post-production techniques, Starling has described the work as 'a sort of ghost story'.
Phantom Ride can be seen at Tate Britain from 12 March – 20 October 2013
Haroon Mirza creates sculptural soundscapes by drawing on an eclectic range of sources, from music to the speaking voice. Work can start with an object, a sound, an idea, or simply a point of interest says Mirza, who sees his role as that of a composer, bringing the disparate elements together as an installation that mixes sound, moving parts, light effects and video.
Mirza's sound installation 'Cross Section of a Revolution' 2011 is on show at The Project Space, Tate Modern until 24 June 2013
Artists Adam Chodzko and Laure Prouvost were commissioned to make new works in response to the legacy of Kurt Schwitters.
In every place Schwitters settled he made large-scale sculptural environments, constructed from plaster and found objects, which filled entire rooms. In Germany he built his legendary ‘Merzbau’, which was later destroyed during the Second World War. At the time of his death Schwitters was living in exile in the Lake District, and working on another Merz environment: his ‘Merz Barn’. Over the last year, Chodzko and Prouvost have developed their own artworks at Grizedale Arts, itself close to the Merz Barn. Both share an interest in how memories and factual narratives about a historical figure can shift and be revised across time.
Their work is on show as part of Schwitters in Britain at Tate Britain, 30 January – 12 May 2013
Wantee and Friends: Performance by Laure Prouvost, Saturday 27 April, 18.30, 19.00 and 19.30
Adam Chodzko: Ooze, an artist's talk as a performance, Monday 22 April 2013, 18.30 – 19.30
Curator Chris Stephens presents the exhibition highlights, and tracks the fascinating development of Scott's style. Throughout his career Scott explored themes of still-life, landscape and the female nude, while shifting between representation and abstraction. As Scott himself said: 'I am an abstract artist in the sense that I abstract. I cannot be called non-figurative while I am still interested in the modern magic of space, primitive sex forms, the sensual and the erotic, disconcerting contours, the things of life.
William Scott is at Tate, St Ives, from 26 January 2013 – 6 May 2013
Conceived as a kind of 'psycho-landscape', the work consists of monologues performed by ethereal figures which are projected onto trees, walls and clouds of smoke. Invoking the spirit of the phantasmagorias of the late eighteenth century, it traces the growth of telecommunication, from the telegraph to the radio, the television and the internet, acting as an alternative history ofdisembodiedcommunication Oursler recently collaborated with David Bowie to direct the video for Bowie's single 'Where Are We Now?', which featured his characteristic puppet’s head projections.
'The Influence Machine', presented in collaboration with Artangel, can be seen outside Tate Modern on 15–16 and 18–19 February 2013, from 18.00–22.00.
Guardian journalist Alexis Petridis joins TateShots at the first performance of KRAFTWERK – THE CATALOGUE 1 2 3 4 5 6 7 8, a chronological exploration of the group’s sonic and visual experiments presenting eight classic master works from across their celebrated repertoire with spectacular 3D visualisations and effects.
Photographer Peter Fraser shows us around an exhibition of his work at Tate St Ives. Fraser has been at the forefront of colour photography as a fine art medium since the early 1980s, emerging alongside peers including Martin Parr and Paul Graham. Much of his work involves an almost obsessive focus on the small details of everyday life. He talks to TateShots about his approach to image-making, and why he feels his work expresses the mysterious scope and range of the unconscious mind.
Peter Fraser’s work is at Tate St Ives from 26 January to 6 May 2013.