TATE ETC. Issue 25:
Tate Tanks Special
Visiting and Revisiting Art, etcetera
Highlights include…
Tate Tanks Special with Nicholas Serota, Kathy Noble, Stuart Comer, Sally O’Reilly, Catherine Wood, Emily Pringle, Laura McLean-Ferris, and Lucy Reynolds
Alex Katz in conversation with Martin Clark
Arthur Lubow on Tino Sehgal
Private View: Llyn Foulkes
Sue Prideaux and Michael Marmor on Edvard Munch
Damien Hirst in conversation with Michael Bracewell
Sam Smiles essay: Late Style
Nancy Holt and Robert Smithson in England
David Campany on Another London at Tate Britain
The Tanks—The cavernous underground oil tanks in the former power station that is now Tate Modern have been transformed by original Tate Modern architects Herzog & de Meuron into what promise to be some of the most exciting new spaces for art in the world. More than 30 metres in diameter, they and their adjoining rooms will play host to a festival of international cross-disciplinary and live event-based work and performance from past to present. They open in July and set an agenda for the future of the museum, as Director Nicholas Serota tells TATE ETC.
The three curators involved in The Tanks’ first season of performance, choreography, and film, and Tate’s head of learning discuss their vision for the museum of the future, writer Sally O’Reilly looks at how the programme is dedicated to art that has traditionally sat uneasily within a museum collection, and Laura McLean-Ferris takes a look at the work of the first commissioned artist, Sung Hwan Kim.
Damien Hirst talks about his favourite Tate works, from William Blake to Bruce Nauman.
The work of the British-born German artist Tino Sehgal exists solely as a set of choreographed gestures and spoken instructions acted out by performers in gallery settings. Often these actions directly involve visitors who witness them, as in the case of This Is Propaganda (2002), which took on the form of a female attendant singing the title of the work each time someone entered the space. Arthur Lubow introduces him.
The artistic director of Tate St Ives visited Alex Katz in his New York studio, where the artist talked about breaking away from the prevailing mood of Abstract Expressionism in the late 1950s to develop his energetic and colourful signature style.
Edvard Munch is best known for his pictures of moody lovers and tortured souls. However, these were not merely a product of his feverish imagination; his paintings, prints, and ghostly photographs reflected a contemporary fascination with spiritualism (which included an Ouija board session with Strindberg) the supernatural, the occult, and the newly discovered X-ray. Sue Prideaux investigates.
At age 66, Munch had an intraocular haemorrhage in his right eye. Michael F Marmor looks at how the sketches and watercolours of the ‘visions’ became part of a remarkable period of his later output.
In 1969 Robert Smithson and Nancy Holt journeyed through England and Wales visiting sites that resonated with their practice. For the first time, Holt reflects on the trip and its influence on their art.
“If you think of art as a painting on a wall, a sculpture on a floor, or even a video projected on a screen, your first encounter with the art of Tino Sehgal probably came as a shock.” –Arthur Lubow, p. 27
“Can artists produce their greatest works in the last years of their life?” –Sam Smiles, p. 52
“Llyn Foulkes refers to his work not only as a ‘light romance with nostalgic Americana’, but also as ‘scathing commentaries on the insidious nature of commercial pop culture.’” p. 93
“Does London have an image problem?” –David Campany, p. 105
TATE ETC. – Europe’s Largest Art Magazine
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