September 19, 2014 - Tate Etc. - Issue 32 out now
September 19, 2014

Issue 32 out now

Tate Etc. issue 32
Visiting and revisiting art, etcetera

Highlights include a focus on The EY Exhibition: Late Turner – Painting Set Free, including curator David Blayney Brown‘s investigation into the contemporary reception of Turner and an interview with legendary filmmaker Mike Leigh, Peter Fischli and Peter Doig on the legacy of Sigmar Polke, Kikuji Kawada, Joao Penalva, Chloe Dewe Matthews, Ursula Schulz-Dornburg and Broomberg and Chanarian on Conflict, Time, Photography, thought-provoking photographs from the Archive of Modern Conflict, a studio visit with sculptor Phillip King and a reassessment of Andy Warhol‘s publishing achievements by Lucy Mulroney.

The EY Exhibition: Late Turner – Painting Set Free is the first exhibition devoted to JMW Turner‘s late work between 1835 and his death in 1851, a creative flowering when he produced many of his finest pictures but was also unfairly misunderstood. Curator David Blayney Brown reveals how contemporary critics wrote about Turner, artist Olafur Eliasson talks about how Turner has inspired his work, Simon Grant visits the location of the Rigi paintings and Tate Etc. talks to director Mike Leigh about his biopic of the artist. Plus, experimental filmmakers influenced by Turner.

Sigmar Polke (1941–2010) was one of the most inventive and influential artists of recent times. A leading figure in the generation of 1960s German artists (along with Gerhard Richter and Blinky Palermo), his output was as varied as it was experimental—encompassing paintings, films, sculptures, notebooks, slide projections and photocopies. To coincide with Tate Modern’s first full retrospective of a career spanning five decades (including many works never previously exhibited), the curator of the show talks to artists and admirers Peter Fischli and Peter Doig.

Tate Modern’s exhibition Conflict, Time, Photography, coinciding with the centenary of the start of the First World War, looks at the relationship between photography and scenes of conflict, highlighting the fact that time itself is a fundamental aspect of the photographic medium. Mariko Finch spoke to Kikuji Kawada, Joao Penalva, Chloe Dewe Matthews, Ursula Schulz-Dornburg and Broomberg and Chanarian, whose works are all featured in the show.

The Archive of Modern Conflict (AMC) contains one of the best collections of photographs of war and conflict from across the centuries, some of which will be included in a special section of Tate Modern’s exhibition Conflict, Time, Photography. To coincide with this, we invited the AMC to select some works for the pages of Tate Etc., which are introduced by the exhibition’s co-curator David Alan Mellor.

He studied under Anthony Caro, was a studio assistant to Henry Moore, and has consistently experimented with materials including foam, PVC and steel. Tate Etc. visited Phillip King in his London studio on the eve of his display of work in the Duveen galleries at Tate Britain.

Today we take for granted the mass-media channels of publishing, film, fashion, music and broadcasting, but Andy Warhol was a master at utilizing these platforms to expand the notion of the artwork and reflect his conviction that “art should be for everyone.” We are familiar with his paintings of icons, the numerous TV appearances in both ads and talk shows and his contribution to fashion and music, but his publishing achievements are not as well understood and celebrated as they should be, writes Lucy Mulroney.

Tate Etc.—Europe’s largest art magazine
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