LONDON - Sloane Square - TATE Modern


First try, we went to Saatchi Gallery but it was privatized for a few days.. So after a few pics around Sloane Square, lets re-dicover Tate permanent collection.



London Underground tubes -->> direction Sloane Square.



















Sloane Square - Those typical red brick align building from Chelsea.



Blackfriars - Nice view from the bridge arriving to the Tate Modern. 
TATE Modern - Contemporary and modern art museum on Bankside, Southwark, that opened in 2000. Built in a abandoned electric factory drawn by Giles Gilbert Scott, the old machine room is now known as the impressive exhibition hall, the turbine hall. The permanent collection is organized through thematique theme instead of chronological order. 
Lee Bul, 1964, reconstructed 2011. Untitled (Cravings White). This is a reconstruction of a sculptural body-costume worn by the artist during her 'Cravings' performance at the National Museum of Contemporary Art in Seoul in 1989. Hidden microphones amplified the sound of her movements. Lee recalled that her 'performances were a natural extension of my sculptural concerns'. She has continued to make sculptures, whose monstrous forms deconstructs ideals of the female body. In reconstructing Untitled (Cravings White) long after the original was lost in a studio flood, she reinforced the links between her cultures and performances. 
Avis Newman - The Wing of the Wind of Madness, 1982. In the early 1980s, Newman began to make mixed media drawings on canvas. Their large scale ensured the the reach of the artist was taken to its limits an that there was a free-flow between different elements of the composition. Parts of the human body are recognizable here in combination with bird shapes and Paleolithic symbols. Newman has described his accumulation of marks and traces as referring to 'the body of sensations. A body of liquidity, touch, temperature, memory."
Lee Krasner - Gothic Landscape, 1961. Although this is an abstract painting, the thick vertical lines that dominate its centre can be seen as trees, with thick knotted roots at their base. It was probably this that led Krasner to call this painting Gothic Landscape, several years after completing it. Krasner was married to the artist Jackson Pollock and, during their life together, her work was eclipsed by his rise to fame. Gothic Landscape was made in the years following his death from a car crash in 1956. It belongs to a series of large canvases whose violent and expressive gestural brushstrokes reflected her feelings of grief. 
George Condo. This selection of work by the American artist George Condo demonstrates his extraordinary range, encompassing both abstraction and figuration. 

Rebecca Horn. Rebecca Horn's early work focussed on the limits and possibilities of human anatomy. She has returned to the subject in a recent series of drawings whose mark-making echoes the scale and movements of her own body. 
In 1968-69, aged 24, Horn spent several months in hospital following a serious illness. The experience had a profound impact on her. She was already interested in the representation  of distressed bodies, and her series of Hospital Drawings depicts human forms with various physical constraints or prosthetic attachments. Though these seem loosely based on medical tools or animal physiology, their function is not obvious and may appear at turns pleasurable or threatening.
Many of the elongated appendages and mysterious garments depicted in the Hospital drawings were subsequently constructed by the artist out of fabric, feathers, metal and wood, to be used as props in performances enacted just for the camera. These concentrated actions investigate the relationship between a body, its surrounding space and the senses? Erotically charged gestures and aimless repetitions are deployed to poetic, ritual or even comical effect. 
Horn is perhaps best known for her mechanized sculptures and kinetic installations, but in recent years she has returned to drawing inspired by the human form. Recalling her performance work, the dimensions and reach of the artist's body provide the parameters within which gestural marks are made. The resulting Bidy landscapes demonstrate the range of signs through which life manifest itself as a flow of physical energy. 







Jacqueline Humphries, Untitled 2014. Humphrie's large paintings are made with silver and black paint so that areas absorb and reflect light in dramatical contrast. The artist is aware that the glow of screens and tablets have changed our ways of seeing. Her paintings alludes to this, but create less stable light effects. Accents of color animate the surface, along with passages of silver paint akin to scribbles or doodles. Humphrie's paintings often seem to be made very quickly, but some marks are in fact created in stencils, and are built up to resemble drips or fast strokes of paint. 
Charline von Heyl, Jakealoo 2012. Von Heyl works on each new painting without a pre-set composition. Jakealoo brings together different kinds of marks and strokes, some more reminiscent of drawing than painting. the artist likes to play with our expectations about layering. At the top right, areas of bright colour are covered with a thin wash of white paint. In the corner below, a black framed window appears to reveal the layers beneath, but these colours are in fact painted on top of the white. Tricks like these emphasis the physical aspects of painting, at a time when viewers are accustomed to the virtual layers of digital space. 
Christopher Wool, Untitled, 2007-2009. This large abstract painting was made by brushing and spraying paint before wiping away the surface with rags soaked in thinner. Because of the different drying times of Wool's materials, the thinner sometimes erases a black trail of sprayed paint white retaining its outline as a kind of ghosted trace. Wool's marks hark back to the language of abstract expressionism while also recalling the look of white-washed windows in closed-down shops, or the stains on city pavements.
Wool sorks on his computer with photographic images of his paintings. Portions are cut out and rearranged, and a new composition is then silkscreened onto large sheets of paper, in such a way that the grid of the half-tone print replaces the fluidity of the original panted marks. These silkscreens are sometimes overpainted with dots ans smears of enamel paint, as in this work.

Gerhard Richter. The six paintings in this room were conceived by Gerhard Richter as a coherent group, named after the American avant-garde composer John Cage. 
Mark Rothko. This room brings together an extensive group of Seagram murals uniting, for the first time, eight of Tate’s murals with a selection of those from Kawamura Memorial Museum of Art, Sakura and the National Gallery of Art, Washington.
Rothko never devised a ‘final’ scheme for The Four Seasons restaurant. His studio assistant, Dan Rice, recalls that Rothko ‘was very reflective, gathering all the paintings together again and jumbling them up. It would be very difficult to say that one was intended as part of the murals and one was not’. Rather than speculate about the scheme for the Four Seasons, the murals are presented here as Rothko’s first series, in which each work from its very inception enters into a direct dialogue with its counterparts. Within a comparatively narrow compositional scheme, Rothko experimented with varying permutations of the floating ‘frame’ and its background, different surface treatments and the use of vibrant and sombre color.
Though The Four Seasons offered space for only seven murals, Rothko eventually executed thirty canvases. For his retrospective at the Museum of Modern Art, New York in 1961 he identified five of these as Mural Sections 2–5 and Mural Section 7. These are displayed here in consecutive order. The other canvases on view are similar in format and degree of finish, the only exception being the two narrow landscape formats which were originally intended to be hung above the dining room’s folding doors.
When his 1961 retrospective travelled to London’s Whitechapel Art Gallery, Rothko requested that the murals should be hung high, as that was how they were painted, and shown on a warm background colour, which is how they are displayed here.


MATERIAL WORLDS
The Material Worlds wings looks at the ways in which artists engage with diverse materials. 
Marisa Merz, Linving Sculpture, 1966. Marisa Merz's Living Sculpture, 1966, was made by stapling thin sheets of aluminium into makeshift tubes that he suspended from the ceiling of her kitchen. As if disrupting some functional equipment, such as the ducting for extractors, the work also redefines the place and impact of sculpture : improvised rather than fixed, floating rather than solid, hanging rather than standing. This free approach to everyday materials was key to Merz and the other Italian artists associated with arte paver in the late 60's.
El Anatsui, Ink Splash II, 2012. El Anatsui's Ink Splash II, takes the use of industrially produced material in a different direction. Metal bottle tops are flattened and stitched together with copper wire, transforming the disposable objects into a shimmering metal cloth. The familiar is shown to be precious and adaptable to a form of composition usually associated with abstract painting. 
Pinot Gallizio, Industria Painting, 1958. Pinot Gallizio was an early member of the Situationist international, an avant-garde group that attempted to analyse and subvert the capitalist commodification of daily life. Gallizio's 'industrial painting' adapted mechanized manufacturing techniques to challenge established models for the production and distribution of art. The paint was applied onto long rolls of canvas by a team of assistants using a low-tech 'painting machine' so that the result was mass-produced but also unique. Gallazio would then cut off sections to be sold. 
Giuseppe Penone, Breath 5, 1978. The clay is modeled on the imagined shape of a breath of air, exhaled from the artist's mouth. At the top is the form of the interior of Penone's mouth, squeezed into the clay. The impression along the side of the clay is of the artist's leg, wearing jeans, as he learns forward. Penne has made many works concerning the impression of man on nature. For Breath Penone has spoken of the influence of mythological explanations of the creation of man. 
Andrea Bowers, The Worker's Maypole, An offering for May Day, 2015. The source for Bower's drawing is an illustration by the British artist Walter Crane, published in the Clarion, a socialist magazine, in 1894. Emphasizing a continuous tradition of political activism, Bowers recreated the image on sections of cardboard boxes, using a permanent marker pen. She had seen similar materials used to contract placards by twenty-first century protestors such as the Occupy Wall Street encampment. She also altered some of the text on Crane's banners to reflect more recent political campaigns. 
Joseph Beuys. German artist Joseph Beuys saw creativity as central to all aspects of human existence. As well as sculpture and performance, his work as an artist came to encompass social theory and political action. 
In 1982, Beuys took part in an exhibition in Berlin, where he installed a huge mound of clay and surrounded it with sculptures as well as furniture and tools from his studio. Afterwards he made casts of some of the elements to create Lightening with Stag in its Glare 1958-85. The bolt of lightening itself was a bronze cast from a section of the clay mound, while the stag was cast in aluminium as if illuminated by a sudden flash of light. Made towards the end of Beuys's life, this major installation adresses themes of finality and death, but also ideas of regeneration and the transformative power of nature. 


(c) Chavanitas