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Judy Chicago, Great Ladies Transforming themselves into Butterflies, Sprayed acryllic and pen on paper, 1973

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Dale Harding, Wall Composition in Reckitt’s Blue 2017, Reckitt’s Blue laundry powder, charcoal and Grevillea robusta resin, incision into wall.

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Artist story/ D Harding introduces 'Wall composition in Reckitt's Blue'

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How to Prime a Canvas

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This guide explains the importance of priming in oil painting, detailing how it protects canvases, enhances paint adhesion, and ensures even paint applications.

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Optical and Atomic Colour Mixing

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Atomic and Optical colour mixing explained | Winsor & Newton Masterclass

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The great women's art bulletin Katy Hessel, The Guardian, 27 May, 2024 (Accessed 23.09.24) available https://www.theguardian.com/artanddesign/article/2024/may/27/female-artists-practically-invisible-a-groundbreaking-show

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Female artists have always been practically invisible – a groundbreaking show is putting that right | Katy Hessel

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Finally, with an exhibition spanning 400 years, female artists are getting their due. How did history get away with depriving us of these artists for so long?

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McKenzie Wark, The Cis Gaze and Its Others (For Shola), ssue #117

04/21 accessed 23.09.24 available: https://editor.e-flux-systems.com/files/387134_e-flux-journal-the-cis-gaze-and-its-others-for-shola.pdf

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Salmon Toor, Backseat Boy, oil on panel, 2023

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Judy Chicago Interview with Lucy R Lippard, Art Forum. Features 1974. Accessed 23.09.24 available: https://www.artforum.com/features/judy-chicago-talking-to-lucy-r-lippard-212760/

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JUDY CHICAGO, TALKING TO LUCY R. LIPPARD

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I. YOU’VE BEEN SHOWING YOUR WORK for about 11 years now, but there’s never been an article on it, so let’s start from scratch. OK. When I first started my…

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Lots to think about

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Artist Dale Harding – ‘Environment is Part of Who You Are’ | Tate

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Artist Dale Harding – ‘Environment is Part of Who You Are’ | Tate

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Nicole Eisenman, The Triumph of Poverty, 2009, Oil on canvas, 165.1 x 208.3 cm. From the Collection of Bobbi and Stephen Rosenthal, New York City, Image courtesy Leo Koenig Inc., New York

Nicole Eisenman, Morning Studio, 2016, Oil on canvas, 167.6 x 210.8 cm, The Hort Family Collection. Image courtesy the artist and Anton Kern Gallery, New York.

Nicole Eisenman, Sloppy Bar Room Kiss, 2011, Oil on canvas, 99.1 × 121.9 cm, Collection of Cathy and Jonathan Miller. Image Courtesy of the artist and Vielmetter Los Angeles, Photo credit: Robert Wedemeyer

Nicole Eisenman, Selfie, 2014, Oil on canvas, 134.6 × 111.8 cm, Stephanie and Timothy Ingrassia. Image courtesy the artist and Anton Kern Gallery, New York. Image courtesy the artist and Hauser & Wirth. Photo: Robert Wedemeyer

Nicole Eisenman, Beer Garden with Ulrike and Celeste, 2009, Oil on canvas, 165.1 × 208.3 cm, Hall Collection. Image courtesy Hall Art Foundation. Photo: Bryan Conley.

Past Exhibition

This exhibition was on 11 Oct 2023 - 14 Jan 2024

Whitechapel Gallery is committed to making all of our exhibitions as accessible as possible for every visitor. Please contact access@whitechapelgallery.org if you would like to discuss a particular request and we will gladly discuss with you the best way to accommodate it.

For complete access information about the gallery, please visit https://www.whitechapelgallery.org/visit/access/.

Tactile objects are available in the exhibition spaces for visitors looking to help complete their mental image or understanding of the artworks.

Unfortunately a sculptural work titled Jewellery Tree is not accessible without the use of steps.To accommodate visitors who require alternative access, we offer this resource.
Content Warning: This exhibition contains some scenes of a sexual and violent nature as well as use of explicit language. Please speak to a member of staff for further information
Exhibition
Nicole Eisenman: What Happened

★★★★★ " Manet, Renoir, Pieter Bruegel the Elder... are all grist to Eisenman's mill, queering our readings of them all, quoting and riffing and making them all belong to our time, not theirs." - The Guardian

★★★★★" Nicole Eisenman offers a world of distinctly adult pleasures." - The i

This autumn, we present the first major UK retrospective of the artist Nicole Eisenman (b.1965, Verdun, France, lives and works in Brooklyn, New York, USA).

Nicole Eisenman: What Happened brings together over 100 works from across the artist's three-decade career - many of which have not previously been shown in the UK. Encompassing large-scale, monumental paintings alongside sculptures, monoprints, animation and drawings, the exhibition showcases the extraordinary range and formal inventiveness that characterises her practice.

Arranged chronologically across eight sections, the exhibition illuminates the critical, yet often highly humorous approach that Eisenman uses to explore some of the most prescient socio-political issues of the day. These encompass gender, identity and sexual politics, recent civic and governmental turmoil in the United States, protest and activism, and the impact of technology on personal relationships and romantic lives.

A full colour catalogue will accompany the show alongside as a rich public programme to help further explore the themes and issues raised by the exhibition and gain additional insights into the artists' work and practice.

For more information, please find the press release here.
This exhibition has been made possible as a result of the Government Indemnity Scheme. Whitechapel Gallery would like to thank HM Government for providing Government Indemnity and the Department for Culture, Media and Sport and Arts Council England for arranging the indemnity.
#WhatHappened

Nicole Eisenman (b. 1965, France, lives and works in Brooklyn, USA) works across painting, drawing, installation and sculpture. She received the prestigious MacArthur Foundation Fellowship award in 2015 for 'expanding the expressive potential of the figurative tradition in works that engage contemporary social issues and restore cultural significance to the representation of the human form.' Additionally, she has been awarded the Guggenheim Fellowship (1996), Carnegie Prize (2013), the Suzanne Deal Booth/FLAG Art Foundation Prize (2018), and was inducted into the American Academy of Arts and Letters in 2018.

Her work has been shown in numerous solo exhibitions, such as Nicole Eisenman: Untitled (show) at Hauser & Wirth, New York (2022); Heads, Kisses, Battles: Nicole Eisenman and the Moderns at Kunsthalle Bielefeld, Bielefeld (2021), which travelled to Aargauer Kunsthaus, Aarau (2022), Foundation Vincent Van Gogh, Arles (2022) and Kunstmuseum Den Haag, Hague (2022); Nicole Eisenman: Giant Without a Body at the Astrup Fearnley Museum, Oslo (2021); and Nicole Eisenman: Sturm und Drang at The Contemporary Austin, Austin (2020). Her work has also been included in the Whitney Biennial in 1995, 2012, and 2019, and the 2019 Venice Biennale, as well as having been acquired by public collections such as the Museum of Modern Art, New York, the Whitney Museum of American Art, New York, and the Tate, London.

Lunch Matters. You know it does, we know it does...especially after (or before) seeing an exhibition, so look what we've done:

Purchase a special 'Lunch Matters' ticket and get discounted entry to our fabulous Nicole Eisenman exhibition as well as a splendid 2-course lunch from the set menu at our acclaimed restaurant, Townsend, between 12 - 2pm, Tues - Sat. Gift horse. Mouth.

Book your ticket here

Make your reservation here
Advance Bookings only, separate restaurant r eservation essential.
Generously supported by:

Nicole Eisenman: What Happened has been generously supported by:
Hauser & Wirth
Anton Kern Gallery
Vielmetter Los Angeles
Nicole Eisenman Exhibition Circle:
Igor and Anastasia Bukhman, Richard Chang, De Ying Foundation, Martin and Rebecca Eisenberg, Green Family Art Foundation, Oliver Haarmann, Rennie Collection, Craig Robins, Tony and Elham Salamé, Gary Steele and Steven Rice.

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Nicole Eisenman: What Happened - Whitechapel Gallery

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Nicole Eisenman: What Happened brings together over 100 works from across the artist, many of which have not previously been shown in the UK.

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Discover the work of Haegue Yang, who explores the history of conceptual art as shaped by a set of rules

Hague Yang often makes work using everyday domestic items, transforming them in extraordinary ways. This suspended sculpture is made of over 500 Venetian blinds. Yang's choice highlights the unique sculptural possibilities of these ordinary window coverings. They can be flat or three dimensional, opaque or transparent, compressed or expanded.

This sculpture, made in 2015, references Sol LeWitt (1928-2007), a pioneer of conceptual art who made work by following self-imposed systems. Yang reinterprets his 1986 floor-based sculpture Structure with Three Towers. She replaces the open-sided cubes of LeWitt's sculpture with Venetian blinds, magnifies the overall structure twenty-three times, divides it into three parts and suspends the work upside down from the ceiling. This process is reflected in the title: Sol LeWitt Upside Down - Structure with Three Towers, Expanded 23 Times, Split in Three.

By connecting her work to that of a well-known artist of an earlier generation, Yang questions conventions of authorship and originality. She borrows and adapts LeWitt's rules, while translating his structure into an environment for the viewer to walk around, through and under. Her use of the blinds means that the play of light changes as we move around the sculpture. The choice of material also brings in ideas of privacy and visibility.

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Haegue Yang - Display at Tate Modern | Tate

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Discover the work of Haegue Yang, who explores the history of conceptual art as shaped by a set of rules Hague Yang often makes work using everyday domestic items, transforming them in extraordinary ways. This suspended sculpture is made of over 500 Venetian blinds. Yang's choice highlights the unique sculptural possibilities of these ordinary window coverings.

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Monet in London Exhibition Courtauld Gallery

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Monet in London Exhibition Courtauld Gallery

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27 Sep 2024 - 19 Jan 2025
Denise Coates Exhibition Galleries

Claude Monet (1840-1926) is world renowned as the leading figure of French Impressionism, the movement that changed the course of modern art. Less known is the fact that some of Monet's most remarkable Impressionist paintings were made not in France but in London. They depict extraordinary views of the Thames as it had never been seen before, full of evocative atmosphere, mysterious light and radiant colour.

Begun over three stays in the capital between 1899 and 1901, the series-depicting Charing Cross Bridge, Waterloo Bridge and the Houses of Parliament-was unveiled at a landmark exhibition in Paris in 1904. Monet fervently wanted to show them in London itself the following year, 1905, but plans fell through. To this day, they have never been the subject of an exhibition in the UK.

Monet and London: Views of the Thames will realise Monet's unfulfilled ambition of showing this extraordinary group of paintings in London, on the banks of the Thames and a mere 300 metres from the Savoy Hotel where most were painted. By presenting the paintings Monet himself selected for his public in Paris and London, it will provide visitors with the unique experience of seeing the show Monet curated and the works he felt best represented his ambitious artistic enterprise - brought together for the first time 120 years after their inaugural exhibition.

Supported by the Huo Family Foundation.

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Monet and London: Views of the Thames will reunite an extraordinary group of Monet's Impressionist paintings of London, depicting Charing Cross Bridge, Waterloo Bridge, and the Houses of Parliament for the first time in 120 years.

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Artist, Yelena Popova, Елена Попова, художник, tapestries, public commissions, post-petrochemical paintings

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Copyright Notice

All images and sounds appearing in this site are the exclusive property of Larry Achiampong and are protected under international copyright laws. All texts are copyright Larry Achiampong or their relevant author where indicated.

© Larry Achiampong

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Copyright Notice All images and sounds appearing in this site are the exclusive property of Larry Achiampong and are protected under international copyright laws. All texts are copyright Larry Achiampong or their relevant author where indicated. © Larry Achiampong

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top image: Joe Hales

lower two photos: Eva Herzog
Scroll down for more installation photos
'The Earth is Knot Flat' ( 2 Oct - 15 Dec 2024 ) at Drawing Room, London is now open until December 15.
I have developed the thinking I was doing (with others) for my River drawing back in 2021 for Artangel ( I hope you can get along to visit :) 'Combining echoes of the sublime with a strong visual sense of today's "beyond human" otherness, this new exhibition - her first solo presentation in a public institution - by Emma McNally reveals her to be an artist whose work combines the conceptual, the material and the dialogic. She has transformed the main gallery space at Drawing Room into a landscape where nature, so to speak, is not just remembered but re-enchanted. This is less an exhibition than an environmental installation that draws us in through its variegations of grey and blackness into a manifold otherness. Her intense manipulation of paper pieces assembled together into unearthly constructs, filigreed by multiple hand-drawn lines and textured through modes of crumpling (worked on for months preceding the exhibition), combined with empathic filmic effects by Manon Schwich, make this one of the year's most enthralling exhibitions.' 'Afterness' / Artangel .)
Bronac Ferran for Studio International

' 'The Earth is Knot Flat will be Emma McNally's first solo institutional exhibition in the UK and her most ambitious installation to date.

Emma McNally scrambles the elements of drawing, generating multi-dimensional disruptive works that draw attention to the entangled complexity of existence in an age of extractive capitalism and environmental breakdown. By exploding the idea of a unitary 'drawing', she develops the capacity for complexity needed to imagine alternatives to individualised ways of being that lead to domination, subjugation and destruction.

McNally takes the raw materials of drawing - paper, graphite, gum arabic, kaolin - and upends them: crumpling, folding, twisting, perforating, scoring and rotating these components to produce large-scale, undulating works that tumble into the gallery like rock debris deposited by a glacier, pocked with cavities and recesses for nestling in. With no front or back, up or down, these surfaces are covered with a carbon patina, caked-on like soot or built up with an accumulation of mark-making - tangles of eddying ellipses or staccato scratches made using the hand and machines such as sanders or drills. Smaller works fidgeted together from wires, mesh and crochet are suspended in the air like cobwebbed clouds.

These works interact with each other rhythmically like notes in a score, without dominating logic or boundaries, forming a sensory ensemble. They are informed by geological processes, weather patterns, coral formations, planetary movements, atom bombs - a 'complex topography' of intricate systems in which each part is inescapably interconnected to the other. For McNally, this non-hierarchical approach challenges the 'rational' mindset of post-Enlightenment thinking, which used classification and categorisation as colonial, capitalist tools to dominate, subjugate and extract. Only by moving away from this atomised, binary approach towards a social 'thinking-together', that disrupts the idea of the artist, the individual and the self, can we create the conditions for resilience, consciousness and collectivity in which 'the otherwise becomes possible.'
Artist biography
The Earth is Knot Flat will be Emma McNally's first solo institutional exhibition in the UK and will feature embedded film projections made in collaboration with Manon Schwich. Visitors to the exhibition are invited to share in different ways of drawing and making over the duration of the exhibition.

Etymologies of Foam and Dust is a book published to coincide with The Earth is Knot Flat. Designed by Joe Hales, it includes an essay by Aya Nassar, an interdisciplinary scholar who writes about memory, material and post-colonial cityness. Generously supported by Jane Hamlyn and James Lingwood and others who wish to remain anonymous.

Born 1969, Essex, McNally lives and works in London. Her graphite drawings, a multitude of different marks, conjure up dynamic weather systems and matter moving through different states. They suggest an attempt to chart shifting systems of immense complexity, drawing on soundings, data visualisations, electronic microscopes, particle collision chambers and satellite imaging. She studied Philosophy and Literature at the University of York before continuing her thinking visually through drawing. For over 20 years McNally supported her drawing in the studio by painting large scale reproductions of Renaissance paintings on the street - including long periods outside York Minster, in the shadow of St Paul's Cathedral, London and on the South Bank of the Thames.

Recent group exhibitions include: After Mallarmé, curated by Michael Newman, Large Glass, London (2024); Denniston Hill, Marian Goodman NYC (2023); After Mallerme. Afterness, Artangel / National Trust, Orford Ness, UK (2021); 20th Biennale of Sydney, AU (2016), The Form of Form, Lisbon Architecture Triennale (2016); Mirrorcity, Hayward Gallery, London, UK (2015); Abstract Drawing, curated by Richard Deacon, Drawing Room, London (2014). Seeing/Knowing, Kenyon College of Liberal Arts, Ohio, US (2011). In the period 2016-21, McNally withdrew from exhibiting and was involved intensely with political activism. Her works are held in numerous private and public collections including Museum of Fine Arts, Houston, US and MONA, AU.'

The Earth is Knot Flat is supported by:

'In Other Words...'

-Fred Moten

babble is brookish,

an open-bookish

kinda thing, some

falling into seeing

the fluidity of the

good black earth

when it feels like

weeping in reed-

song. see, that's

real - a violence

of willow cabin,

a silten throat to

share. reading

is just residual,

rückenfigural

corresponding

back and forth

in waterfalling

so we can feel

how feel sounds,

and know how

good was, and

revel, and rappel

a picture-feeling

in the runaway

bubbling from

before's old-new

beguining, mid

dle seethe, and

model aftermath.
'In the face of this stealing from the stolen what we continue to receive in them is their stealing away, in undercommon assembly, in the thickness, in varying sharpnesses of drafting and overdrafting, of speculative, anarchitectural, antinational, profanational drawing, of parabolic turns and eccentric, centrifugal, extracircular returns of the drawing of breath, drawn away from it, in and out of itself, of scale, over (and under) rule, (up) against it. Our high-low monastic nothingness is irrectangular blurrrrr, out of line and out of round and out of turn, multiply tabled/terkhed/torqued/ twerked/tongued, our uncorralled chorale.' Moten+Harney
'By violating the rule of separability, we are able to displace the most resilient conceptual impediments'

Denise Ferreira da Silva
the practice of impuring
Uncountable
contaminate
the practice of decay

'impure': not pure; mixed with extraneous matter, especially of an inferior or contaminating nature

/kənˈtamɪneɪt/
from con- 'together with' + the base of tangere 'to touch'.
Origin
declivity (n.)
late Middle English: from Latin contaminat- 'made impure', from the verb contaminare, from contamen 'contact, pollution',
rhythm (n.)
the practice of contaminating.. touching with
'A Klee painting named Angelus Novus shows an angel looking as though he is about to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open, his wings are spread. This is how one pictures the angel of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them. The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress.' Walter Benjamin 'There is a rhythm making a world, and the time and space this rhythm beats out invites individuation in this world. This is a rhythm that has been around for five hundred years. But now it sounds to itself like the only rhythm, the rhythm of the world, and of the individuals who strive to live in that world.' Harney+Moten 'Love is not a state' Judith Butler 'To fall is to lose one's place, to lose the place that makes one, to relinquish the locus of being, which is to say of being-single'
"a downward slope," 1610s, from French déclivité, from Latin declivitatem (nominative declivitas) "a slope, declivity," from declivis "a sloping downward," from de "down" (see de-) + clivus "a slope," from PIE *klei-wo-, suffixed form of root *klei- "to lean."

16c. spelling variant or attempted classical correction of Middle English rime "measure, meter, rhythm," also "agreement in end-sounds of words or metrical lines, rhyme; a rhyming poem" (12c.), from Old French rime "verse," from Latin rhythmus "movement in time," from Greek rhythmos "measured flow or movement, rhythm; proportion, symmetry; arrangement, order; form, shape, wise, manner; soul, disposition," related to rhein "to flow" (from PIE root *sreu- "to flow").

Moten+Harney

Full fathom five thy father lies;
Of his bones are coral made;
Those are pearls that were his eyes:
Nothing of him that doth fade,
But doth suffer a sea-change
Into something rich and strange.
Sea-nymphs hourly ring his knell:
Ding-dong.
Hark! now I hear them-Ding-dong, bell.
Denise Ferreira da Silva 'To be entangled is not simply to be intertwined with another, as in the joining of separate entities, but to lack an independent, self-contained existence. Existence is not an individual affair. Individuals do not preexist their interactions; rather, individuals emerge through and as part of their entangled intra-relating. Which is not to say that emergence happens once and for all, as an event or as a process that takes place according to some external measure of space and of time, but rather that time and space, like matter and meaning, come into existence, are iteratively reconfigured through each intra-action, thereby making it impossible to differentiate in any absolute sense between creation and renewal, beginning and returning, continuity and discontinuity, here and there, past and future." Karen Barad '...the wrecked and crowded surface of approach, which is a kind of deepening, digging, working, kneading, in and out of haptic need...' 'There's a movement of the earth against the world. It's not the movement. It's not even a movement. It's more like what Tonika calls a procession, a holy river come down procession, a procession in black, draped in white. The earth's procession sways with us. It moves by way of a chant. It steps in the way of the base, in the way of the dancing tao. It bows to the sisters of the good foot, carrying flowers from Caliban's tenderless gardens. The earth is on the move. You can't join from the outside. You come up from under, and you fall back into its surf. This is the base without foundation, its dusty, watery disorchestration on the march, bent, on the run. Down where it's greeny, where it's salty, the earth moves against the world under the undercover of blackness, its postcognitive, incognitive worker's inquest and last played radio.' Moten + Harney 'We must return to what was destroyed, to the ruins and to the possibilities that were doomed to appear as "past." We must rebuild and resurrect them with and for the sake of those who were colonized and expelled, with and for the sake of their descendants.

The ruins should be inhabited as part of processes and formations of repair, of a slow repair that draws on the many different formations of social, political, and spiritual care that were destroyed by European technologies of violence and colonial and international law imposed on all pre-colonial communal laws.' Ariella Aïsha Azoulay "a theater of refusal, a theater of refuse, a theater of refuse, a theater of the refused, a theater of the refusal of what has been refused, a theater of the left over, a theater of the left behind, a theater of the left, a theater of the (out and) gone" 'Consent not to be a single being'
Shakespeare 'Ariel's Song' from The Tempest
Denise Ferreira da Silva // Arjuna Neuman 'Facing the im/possibilities of living on a damaged planet, where it is impossible to tease apart political, economic, racist, colonialist, and natural sources of homelessness (otherwise called "the problem of refugees"), will require multiple forms of collective praxis willing to risk interrupting the "flow of progress"-not by bombing the other but by blasting open the continuum of history.'
' 'Blacklight, or ultraviolet radiation, works through that which it makes shine: for example, it has the capacity to transform at the DNA level, that is, it reprograms the code in the living thing exposed to it, and causes mayhem in their self-reproductive capacity at the cellular level. We could think of this process as one of breaking up a modern substance, that is, of separating form (the code, the formula, the algorithm, or the principle) and matter (content, or that of which something is composed). (I use the modifier "modern" because of my interest in dissolving the abstract forms of the understanding. However, there is nothing to prevent us from imaging blacklight breaking through any other abstract or sensible form, even, hopefully, at the atomic level. In any event.)'

Deep Implicancy : to consider our world out of time, to think about a primordial moment of entanglement prior to the separation of matter into the forms we currently know, both human and non-human

Karen Barad

"Love is not a state, a feeling, a disposition, but an exchange, uneven, fraught with history, with ghosts, with longings that are more or less legible to those who try to see one another with their own faulty vision."
'Eytmology of dust' Inhabiting the ruins..... we, as 'angel of history' The daily practice of decay late Middle English: from Old French decair, based on Latin decidere 'fall down or off', from de- 'from' + cadere 'fall'. early 18th century: from French débris, from obsolete débriser 'break down'. "accumulation of loose matter or rubbish from some destructive operation or process," 1708, from French débris "remains, waste, rubbish" (16c.), from obsolete debriser "break down, crush," from Old French de- (see ) + briser "to break," from Late Latin brisare, which is possibly of Gaulish origin (compare Old Irish brissim "I break").
Judith Butler

***********
Decaying the material conditions of 'inscription' inscription (n.) late 14c., from Latin inscriptionem (nominative inscriptio) "a writing upon, inscription," noun of action from past-participle stem of inscribere "inscribe, to write on or in (something)," from in- "in" (from PIE root *en "in") + scribere "to write" (from PIE root *skribh- "to cut"). Related: Inscriptional. séance (n.)
non linearity

non sequentiality

indeterminacy

1789, "a sitting, a session," as of a learned society, originally in French contexts, from French séance "a sitting," from seoir "to sit," from Latin sedere "to sit" (from PIE root *sed- (1) "to sit"). Meaning "spiritualistic session in which intercourse is alleged to be held with ghosts of the dead" is recorded by 1845.

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Emma McNally London-based Artist Drawing

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top image: Joe Hales lower two photos: Eva Herzog Scroll down for more installation photos 'The Earth is Knot Flat' ( 2 Oct - 15 Dec 2024 ) at Drawing Room, London is now open until December 15.

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LEE Mingwei: The Mending Project 李明維《補裳計畫》 La Biennale di Venezia "Viva Arte Viva", 2017

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Barbara Walker – ‘It’s like life itself, like the air I breathe’ | Tate

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Aya Nassar: Graphite geography - Drawing Room

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Text by Aya Nassar, written to accompany Emma McNally: The Earth is Knot Flat.

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Medium: Installation of hand-printed books and ceiling and wall scrolls printed from wood letterpress type; ink on paper

Dimensions: Each book, open: 18 1/8 × 20 in. (46 × 51 cm); three ceiling scrolls, each: 38 in. × approx. 114 ft. 9 7/8 in. (96.5 × 3500 cm); each wall scroll: 9 ft. 2 1/4 in. × 39 3/8 in. (280 × 100 cm)

Classification: Sculpture

Credit Line: Lent by the artist

Accession Number: SL.14.2013.2.2a-tttttt

Rights and Reproduction: © Xu Bing

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Xu Bing | Book from the Sky | China | The Metropolitan Museum of Art

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Medium: Installation of hand-printed books and ceiling and wall scrolls printed from wood letterpress type; ink on paper Dimensions: Each book, open: 18 1/8 × 20 in. (46 × 51 cm); three ceiling scrolls, each: 38 in. × approx. 114 ft. 9 7/8 in. (96.5 × 3500 cm); each wall scroll: 9 ft.

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The paper is oceanic, and also filmic. Drawings are experiments, narratives, beauty, reverb and repetition, the floor of ceremony; graphite and thread, ink, colored pencils, projections and tracings, photographs and photographic memory; glitches, mistakes, experiments, the unknown. There is also performance, video, oil painting, and bronze.

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The paper is oceanic, and also filmic. Drawings are experiments, narratives, beauty, reverb and repetition, the floor of ceremony; graphite and thread, ink, colored pencils, projections and tracings, photographs and photographic memory; glitches, mistakes, experiments, the unknown. There is also performance, video, oil painting, and bronze.

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Helen Marten - Official Website of the artist

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The official website of artist and writer Helen Marten. A comprehensive archive of selected works, books, writings, press and ephemera.

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How I became an artist: Christine Sun Kim

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On Deaf voice, sound diet, and the musicality of American Sign Language

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A few years ago I began producing one-off publications that I registered officially with the International Standard Book Number agency. After a while I started to receive letters from the Legal Deposit department at the British Library asking me why I had not sent copies of my books, as required by law.

As many of these published works are one-off, or could even be classified as acts, this presented me with a conundrum.

For example, I registered myself as an official publication under the name of Fiona Banner, a kind of self-portrait as a publication. This, in turn, was documented as a photo of me with the ISBN number tattooed on my back.

Summer 2009, a piece of paper that was left outdoors for the whole summer with a stencil on it, so that it became sunburnt, was subsequently published as a one-off piece, to represent a period of time spent away from the studio. The title of the work is legible on the paper like a kind of bikini of words. For the purpose of duplication it is reproduced as a photo.

A stone that I engraved with an ISBN was published under the title of Sleep, a notional portrait of a nude reclining, has become a facsimile of itself, by way of a graphite rubbing.

I am in the process of compiling a dossier of these facsimiles, which I will deposit with the British Library as required by the Legal Deposit Libraries Act of 2003 and the 1911 Copyright Act.

The following pages illustrate some of the works from this dossier:
LEGAL DEPOSIT

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A few years ago I began producing one-off publications that I registered officially with the International Standard Book Number agency. After a while I...

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Interview with Sin Wai Kin

During a performance of A View From Elsewhere (2019), Toronto-born artist Sin Wai Kin wore a floor length gown with matching evening gloves. As the fantasy in three actsunfolded, one side of their mouth transformed into a smirk. The performance was characterised by an unapologetic exhaustion as Sin Wai Kin lip-synced over a provocative track about the demands of the audiences' gaze: 'She's here.... So, go on, look at her.'

Sin Wai Kin, formerly known as Victoria Sin, identifies as non-binary. Their performances ply apart femininity in order to expose gender as an elaborate social construct - a comedic opera of many composite parts, reliant on myth, performance and spectatorship.

In their latest work, a film titled A Dream of Wholeness in Parts (2021), influenced by Cantonese opera, Sin Wai Kin toys with - and queers - tradition. They appear as several characters at once, presenting interpretations of Cantonese operatic archetypes. One such character is The Universe, a reinterpretation of the Zing (warrior) role, appearing in a diamanté belt with the letters 'R', 'E', 'A', 'L' brandished across the waist - a nod to the ways in which Sin Wai Kin's practice both mocks and heralds language as a technology for truth production. Actuality is regarded as just another lacklustre accessory.

In the past year, Sin Wai Kin's performances have taken the form of virtual commissions, such as Total Fabrication (2020), a short film published on the Guggenheim's Works and Process YouTube channel. In this three-minute clip, Sin Wai Kin dons a rainbow-shaped moustache, their face bearing a striking resemblance to iconic filmmaker John Waters. They then lip-sync to a track that troubles the distinction between news and performance, fact and invention.

When I meet Sin Wai Kin over Zoom, they sit in front of a floor-to-ceiling mirror at home in London. The reflection revealed a reproduction of the Mona Lisa in a small gold frame, on a wall behind the screen. A print of Botticelli's The Birth of Venus was affixed nearby. As Sin Wai Kin spoke of their interests in performance, fiction and disguise, I began to think of these images as confrontations with the Western canon. In their literalised 'body' of work, paint is applied to the skin and faces are made up. When I expressed my desire for a virtual studio tour, Sin Wai Kin said there was no need: 'I carry it with me all of the time'.

Sin Wai Kin

- All of my films and performances start with writing. Storytelling is central to my work. Some of the biggest shifts in my thinking have come from reading science fiction. Ursula Le Guin's The Dispossessed (1974) helped me imagine life outside capitalism, while The Left Hand of Darkness (1969) and Octavia E. Butler's incredible Xenogenesis Series (1987-9) helped me to imagine different systems and models of gender. Samuel R. Delany's Babel-17 (1966) showed me how language not only gives shape to thought but also shapes thought. My own writing always starts from a very personal space - I wouldn't know any other way. A few years ago, in 2018, I went on a research trip funded by the British Council to visit Octavia Butler's papers at the Huntington Library in Los Angeles. In the archive, I found a note that she'd written a small, punchy notecard to herself that said: 'The more personal, the more universal', which has stayed with me ever since.

Sin Wai Kin

- Those narratives, in Narrative Reflections on Looking, came out of the intensely personal, but also universal, experience of being looked at and consumed as an image. Each film presents a single figure in a static frame using camera movements to direct the viewer's gaze in familiar ways over feminine subjects. For years, I was obsessed by the idea of embodying a perfect image of Western femininity through drag, and so that's what Narrative Reflections on Looking evokes. This ideal is influenced by classic Hollywood figures such as Marilyn Monroe, Marlene Dietrich, and Veronica Lake, as well as more contemporary figures, who are in themselves iterations of that iconography, like Jessica Rabbit and Amanda Lepore. In Narrative Reflections on Looking, I'm participating in an iterative genealogy of images that are performed, naturalised, and then performed again in new and even more extreme ways. The images, narratives and gestures I am using don't hide the fact that they are constructed. Wig lines are visible, makeup is cartoonish, eyelashes are falling off, rhinestones are glued on, and postures are strained.

Sin Wai Kin

- I started writing A Dream of Wholeness in Parts in 2019. It was my first time making something on this scale. Up until that point, I'd only made short films, between one and seven minutes long, so it was an exciting step. I spent all of December 2020 in Taipei shooting it - I was in quarantine for the first two weeks either on Zoom for production meetings or alone with my thoughts, looking out of a window that didn't open... But it was a useful time. I spent it finalising the characters in A Dream of Wholeness in Parts, recording and memorising the voiceovers for lip-syncs, refining the script. This film brings together new characters and faces that I've been developing over the past year, inspired by Taoist philosophy, Peking and Cantonese opera, as well as personal transformations - which are finally brought together in this universe.

Sin Wai Kin

- The narrative of A Dream of Wholeness in Parts is non-linear. As with some of my previous works, I wanted to create a 'carrier bag' narrative, after Ursula Le Guin's essay The Carrier Bag Theory of Fiction (1986) - an immersive space where many things are held together for consideration, without the need to be questioned and resolved. A Dream of Wholeness in Parts is influenced by the Taoist allegory, Chuang Tzu's Dream of the Butterfly (c. 300 BC). In the allegory, a philosopher wakes up from a vivid dream, in which he's been a butterfly, only to find that he is no longer sure which state of consciousness is true. My film contains seven dreams that I wanted to function in the same way as Tzu's allegory. The characters move through a dreamscape, waking up from each consecutive dream, feeling unsure about where reality lies. The film, which will be premiered as part of the British Art Show 9 this year, will be installed on an infinite loop, so there is no determined beginning or ending, but rather a self-contained universe.

Sin Wai Kin

- There are two - arguably three - main characters who exist in relationship to one another: The Universe and The Construct. Both characters expand on gender and racial binaries that I've been deconstructing in the past few years. The Universe is a masculine character, inspired in part by Tony Leung Ka-fai - a hero in classic Hong Kong cinema - and the Zing (warrior) role, which is an archetype from Peking and Cantonese opera. Traditionally the warrior is very pictorial in terms of makeup, and in my film the face of The Universe is also elaborate. His hair is blue and his eyelids are painted to evoke the leaves of a flower, which blossoms over a third eye that's painted on his forehead. The flower takes root around The Universe's mouth and beyond the flower is a planetary system. During The Universe's dreams, he finds himself strangely reflected in his surroundings: a tree and a bowl of wonton noodles are animated to speak back to him, and sometimes to speak as him. Through blurring and reflections, I wanted to break down the binary of subject and object, individual and context.

The second character, The Construct, takes influence from a feminine archetype in Cantonese opera (the Daan role). In my film The Construct wears a suit with matching chopines - which are these insane platform shoes, popular in the 15th century... (I imagine these shoes on a character from an inter-planetary version of The Real Housewives). The Construct also wears a long wig made from my own hair, which I cut off last year as part of a personal transformation. The wig is a work in its own right, called Costume for Dreaming (2021), which will be shown in relationship to the film. There are arguably three characters, because The Construct has a second self who is almost-identical - the two selves have the same hair and clothes, but a different face. One face is painted blue and pink with eyebrows angled up towards the centre of the face, in a demure expression. Another is green and pink, with eyebrows angled down towards the centre of the face, in what could be seen as a menacing expression. Both are interpretations of the Daan role, and in Peking opera the colour combinations are symbolic. Blue and pink mean loyalty and honour. Green and pink signify cruelty, vanity or selfishness.

THE WHITE REVIEW

- In your recent film, Total Fabrication, which was published online in the midst of a global pandemic, you perform a character who is ostensibly more masc than previous characters. They wear a white collared shirt and have short, curtained hair. There is lip-syncing, but this time to a significantly lower pitched voice. Why did you decide to embody a masc character in this performance?

Sin Wai Kin

- Total Fabrication came before A Dream of Wholeness in Parts, and it was my first time experimenting with masculinity in drag, which is something that I've wanted to do for a long time. The lockdown provided unexpected time to stop and think about the direction I want my work to go in. Compared to my usual drag looks, Total Fabrication was a small gesture, but it was the first time I've dealt with masculinity explicitly in my work. My feminine characters are always over the top, but my relationship to masculinity is a little different. Suddenly, it was not about taking something off, but rather trying something on. From a cultural perspective, so often masculinity is equated with an absence of performance, and thus seen as a site of authenticity and authority. Total Fabrication makes fun of that.

Sin Wai Kin

- I remember watching Beyond Belief growing up. It was hosted by Jonathan Frakes, of Star Trek fame. By this point in his career, Frakes was a little bit older but still very much trying to personify a suave TV host. Each episode featured a dramatised narrative with actors playing out supernatural happenstances. The audience were asked to spend the show guessing whether the events actually took place, or whether they're totally made up. At the end of the show, Frakes came out and revealed to viewers whether the dramatised narrative was fact or fiction.

Total Fabrication plays into the importance of storytelling in the distinction between objective and subjective knowledge. Storytelling is a human technology of knowledge and truth production. Whether it's history, religion or science, it matters who the author is - because every author will bring unconscious bias and perspectives to a narrative, even within something as supposedly infallible as scientific process.

Sin Wai Kin

- Collaboration has always been really important in my work. Dream Babes was born out of a need to connect and foster community with other people with queer intersectional experience who were using science fiction to try to imagine something better. I really believe that the task of imaging another, or better world is better achieved by collaboration with other people. Every aspect of Dream Babes was collaborative. The beauty of collaboration is that you make something with someone else that you would not have been able to do on your own.

THE WHITE REVIEW

- Each wipe shows a character with their eyes shut - since your eyes need to be in order to remove eye makeup - which gives them kind of finality. Has the process of making the wipes changed your own relationship with your face?

ABOUT THE CONTRIBUTOR

is a writer of fiction and non-fiction. She has worked collaboratively with artists and gallerists in London and the US. In 2017, she was Writer-in-Residence at Rule Gallery, Marfa, Texas, where she worked on a text exploring an archival exhibition of artists involved in Drop City, 1965-71, an artist's commune based in Trinidad, Colorado.

SIN WAI KIN (fka Victoria Sin) is an artist using speculative fiction within performance, moving image, writing and print to interrupt normative processes of desire, identification, and objectification. In 2020, Wai Kin opened the solo exhibition Narrative Reflections on Looking at the Museum of Contemporary Art in Zagreb, Croatia. In 2021, the artist will be included in the touring exhibition British Art Show 9.

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Interview with Sin Wai Kin - The White Review

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During a performance of A View From Elsewhere (2019), Toronto-born artist Sin Wai Kin wore a floor length gown with matching evening gloves. As the fantasy in three acts unfolded, one side of their mouth transformed into a smirk. The performance was characterised by an unapologetic exhaustion as Sin Wai...

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Sonia Dawn Boyce, OBE RA (born 1962), is a British Afro-Caribbean artist, living and working in London. She is a Professor of Black Art and Design at University of the Arts London. Boyce's research interests explore art as a social practice and the critical and contextual debates that arise from this area of study. With an emphasis on collaborative work, Boyce has been working closely with other artists since 1990, often involving improvisation and spontaneous performative actions on the part of her collaborators. Boyce's work involves a variety of media, such as drawing, print, photography, video, and sound. Her art explores the interstices between sound and memory, the dynamics of space, and incorporating the spectator. To date, Boyce has taught Fine Art studio practice for over thirty years in several art colleges across the UK.

Sonia Boyce at the Venice Biennale →
contact

© Portrait of Sonia Boyce by Paul Cochrane, courtesy of UAL, 2013

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Sonia Dawn Boyce, OBE RA (born 1962), is a British Afro-Caribbean artist, living and working in London. She is a Professor of Black Art and Design at University of the Arts London. Boyce's research interests explore art as a social practice and the critical and contextual debates that arise from this area of study.

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Oona Grimes is a London based artist, primarily a chaser of language through drawing, clay making & film.

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The Battle of Orgreave, 2001

"In 1998 I saw an advert for an open commission for Artangel. For years I had had this idea to re-enact this confrontation that I had witnessed as a young person on TV, of striking miners being chased up a hill and pursued through a village. It has since become an iconic image of the 1984 strike - having the quality of a war scene rather than a labour dispute. I received the commission, which I couldn't believe, because I actually didn't think it was possible to do this. After two years' research, the re-enactment finally happened, with about eight-hundred historical re-enactors and two-hundred former miners who had been part of the original conflict. Basically, I was asking the re-enactors to participate in the staging of a battle that occurred within living memory, alongside veterans of the campaign. I've always described it as digging up a corpse and giving it a proper post-mortem, or as a thousand-person crime re-enactment."

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"In 1998 I saw an advert for an open commission for Artangel. For years I had had this idea to re-enact this confrontation that I had witnessed as a young person on TV, of striking miners being chased up a hill and pursued through a village.

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Ellen Gallagher: Ecstatic Draught of Fishes

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Gallagher takes the viewer down into her watery world, where mythology, history and nature collide, in five new, visually compelling works

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Sea Change by Agnes Pelton, 1931

Book Reference

Moss K. Illumination. The paintings of Georgia O'Keeffe, Agnes Pelton, Agnes Martin and Florence Miller Pierce, 2009, OCMA Merrell

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Wilfredo Lam

https://www.tate.org.uk/whats-on/tate-modern/wifredo-lam/who-is

Accessed 23 November 2024

Wifredo Óscar de la Concepción Lam y Castilla(Chinese: 林飛龍; Jyutping: lam4 fei1lung4; December 8, 1902 – September 11, 1982), better known as Wifredo Lam, was a Cuban artist who sought to portray and revive the enduring Afro-Cuban spirit and culture.[1] Inspired by and in contact with some of the most renowned artists of the 20th century, including Pablo Picasso, Henri Matisse, Frida Kahlo and Diego Rivera, Lam melded his influences and created a unique style, which was ultimately characterized by the prominence of hybrid figures. This distinctive visual style of his also influences many artists. Though he was predominantly a painter, he also worked with sculpture, ceramics and printmaking in his later life.

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Lee Ming Wei

LEE MING WEI OUR LABYRINTH

Our Labyrinth transforms the simple, act of sweeping into a performance, bringing a sense of ritual into the museum. It was inspired by Lee Mingwei's experience of visiting ancient temples in Myanmar, where paths leading to temples are swept by volunteers.

The performance features two dancers wearing sarongs with bells on their ankles moving slowly as they brush grains of rice into patterns. They sweep to create a winding labyrinth-like path within a precise space similar to an ink pool.

The performance has been staged in Taipei, Shanghai, Paris, Jakarta, Berlin, New York, and Tokyo, and the edition presented at Tate Modern is the first time the work has expanded to include two performers dancing at a time.

Lee creates participatory installations exploring issues such as trust, intimacy, and self-awareness. He often takes everyday interactions as his starting point, from eating and sleeping to walking and conversation.

Our Labyrinth will be performed continuously from morning to evening in the Turbine Hall from 26 May – 15 June. A conversation with the artist will be held on the 27 May as part of Tate Late and the performance will continue until 21.30 for the event.

Performed by Ben Ajose-Cutting, Iris Athanasiadi, Rosalie Bell, Yen-Ching Lin, Liu I-Ling, Jean-Gabriel Manolis, Thomas McKeon, Aya Sone, Olivia Thynne, and Wu Cheng-Lung.

Curated by Tamsin Hong and Devika Singh .

Reference Website

Lee Ming Wei, The Tate https://www.tate.org.uk/whats-on/tate-modern/lee-mingwei

accessed 16 November 2024

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Enter the labyrinth of artist Lee Mingwei | Tate

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Pae White

Pae White (born 1963) is an American multimedia visual artist known for her unique portrayal of nature and mundane objects through her creations of suspended mobiles.[1] She currently lives and works between Sonoma County[2] and Los Angeles, California.[2]

‘The relationship of the American artist Pae White to space, and its potential for interpretation, are manifold. In her image searches on the internet, one of her areas of focus is digital worlds- virtual and imagined spaces. Additionally, actual architecture, whether historical or contemporary, is an equally important subject in her work as a stable (or unstable) combination of elements as a place of memory, as an expression or cultural mood, as space within a space for individual action, as a retreat, or even as a model for utopia.’

G Burke, Pae White Material Mutters, 2010, Pae White and The Power Plant, Pg 49

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Pae White: Ephemeral Attraction – TLmagazine

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TLmag catches up with established multimedia artist Pae White who transforms ordinary materials into ephemeral objects and installations

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Steph Huang, Sunday Shopping List, 2024 (installation view). Photo: Tate/Joe Humphrys. © the artist

'Between found materials, handcrafted elements and a film, Huang questions the processes of production, trade and consumption underlying the industries of both art and food.' Cindy Ziyun Huang Reviews06 October 2024ArtReview

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In ‘See, See, Sea’ at Tate Britain, Huang questions the processes of production, trade and consumption underlying the industries of both art and food

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Rashid Johnson

Born in Chicago in 1977, Rashid Johnson is among an influential cadre of contemporary American artists whose work employs a wide range of media to explore themes of art history, individual and shared cultural identities, personal narratives, literature, philosophy, materiality, and critical history. Johnson received a BA in Photography from Columbia College in Chicago and studied for his masters at the School of the Art Institute of Chicago. Johnson's practice quickly expanded to embrace a wide range of media—including sculpture, painting, drawing, film making, and installation—yielding a complex multidisciplinary practice that incorporates diverse materials rich with symbolism and personal history. Johnsons work is known for its narrative embedding of a pointed range of everyday materials and objects, often associated with his childhood and frequently referencing aspects of history and cultural identity. Many of Johnson’s more recent works delve into existential themes such as personal and collective anxiety, interiority, and liminal space.

Reference

Hauser Worth https://www.hauserwirth.com/artists/2830-rashid-johnson/#

Accessed 16 November 2024

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Interview with Warren Neidich

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Interview with Warren Neidich About Wet Conceptualism - Cultbytes

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Adrian Piper wearing a shirt emblazoned with the words 'wet paint' helped push artist Warren Neidich to moisten the age-old term Conceptualism.

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Martha Rosler Semiotics of the Kitchen 1975

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Martha Rosler Semiotics of the Kitchen 1975

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In this performance, Rosler takes on the role of an apron-clad housewife and parodies the television cooking demonstrations popularized by Julia Child in the 1960s. Standing in a kitchen, surrounded by a refrigerator, table, and stove, she moves through the alphabet from A to Z, assigning a letter to the various tools found in this domestic space. Wielding knives, a nutcracker, and a rolling pin, she warms to her task, her gestures sharply punctuating the rage and frustration of oppressive women's roles. Rosler has said of this work, "I was concerned with something like the notion of 'language speaking the subject,' and with the transformation of the woman herself into a sign in a system of signs that represent a system of food production, a system of harnessed subjectivity.

"Everything has its first time is a research project by Francesca Seravalle

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Martha Rosler - Semiotics of the Kitchen  1975

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Cap (or tjap) Batik – hand stamped BatikBatik Tulis – or hand drawn batik

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There is nowhere in the world where the art of batik has been developed to a higher standard than on the island of Java in Indonesia. All the raw materials for the process are readily available - cotton and beeswax and many plants from which the natural dyes were made.

We don't know when batik was first made there, but the traditional skills were particularly well developed over hundreds of years in Central Java around the Kraton (or Court) cities of Yogyakarta and Solo under the patronage of the Sultan and his family.

Sultan of Jogyakarta wearing batik

Batik designs were imbued with meaning and powerful symbolism, and some designs were restricted to certain people only - specifically The Sultan himself, or his wider family, or the Court servants and retainers. Making batik was seen as an important skill for a young woman of noble birth. Before beginning a new cloth, she would spend a night in meditation and prayer, and the cloths she made over many months of long and painstaking work, would be revered and preserved as heirlooms for future generations.

Dancer at the Jogyakarta Royal Palace

On the north coast of Java, in trading ports such as Pekalongan, designs were freed of the conservatism of the Royal "Kraton" and were influenced by the requirements of their customers. Settlers from China set up their own batik workshops to sell to Chinese families both in Indonesia and in China.

Hand drawn batik. Cirebon, North Java

Workshops run by Indische (or Dutch-Indonesian) women became famous for the beautiful fine cloths with European influenced designs, which they produced for the many colonial families living in Indonesia by the 19th century, and many beautiful batik cloths were sent back to Holland. Traders from India and Arabia also had their own particular preferences in designs and colours.

As well as Java, batik was, and still is produced on the neighbouring islands of Sumatra and Madura with its own cultural history and characteristic designs and dye colours. Balinese artists too have learnt batik from their Javanese neighbours and workshops have now sprung up there to cater for the tourism trade.

Today, batik is still a huge part of Javanese life - as a fine art, as a huge industry employing millions, as a village craft and as a powerful link with the past. It incorporates many modern techniques such as silk screen printing, spray dyeing, block printing and bleach discharging. Batik cloths from Java are exported all around Asia and the world.

Batik by Tatang Wibowo, Javanese contemporary batik artist

In October 2009 Indonesian Batik was awarded a place on the UNESCO list of Intangible Cultural Heritage; and its future and its place at the heart of Javanese culture would seem to be assured.

The two main methods of applying wax are:

Batik Tulis - or hand drawn batik
The cloth is hung over a frame and the design is drawn on with a canting (or tjanting), a small copper cupped spout with a bamboo or wooden handle. The canting is dipped into a pot of hot wax and then allowed to flow through the spout on to the fabric. To make a strong resist both sides of the cloth are waxed. Batik tulis is significantly more time consuming and therefore expensive than...

Waxing with a canting

Cap (or tjap) Batik - hand stamped batik
The cloth is placed on a padded table and a copper stamp (cap or tjap) is used to apply the wax. The cap is heated in a pan of hot wax and then pressed on to the fabric. Obviously this is much faster than hand drawing and can be used for repeat designs. Again both sides of the cloth are usually waxed.

Cap batik

Dyestuffs
Traditionally the dyes used were deep blues obtained from plant indigo which grew profusely in Java and was cultivated as a cash crop, and the yellows to deep browns called "soga" obtained from a variety of tree barks, heartwood and roots. In the north, a brilliant red was also famously used, obtained from "mengkudu" tree roots ( morinda citrifolia).

Towards the beginning of the 20th century synthetic dyes were introduced and enthusiastically taken up in the coastal regions where, to this day, batik remains more colourful and varied. In the conservative Sultanates of Central Java, the traditional blues and browns of natural plant dyes were still exclusively used until well into the 1960s.

Nowadays synthetic "napthol" dyes are the most widely used for their vivid colours and resistance to fading, although interestingly there is a movement back to using natural dyes in Indonesia, just as there is in much of the textile world.

Text by Diane Gaffney
www.textiletraders.co.uk

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There is nowhere in the world where the art of batik has been developed to a higher standard than on the island of Java in Indonesia. All the raw materials for the process are readily available - cotton and beeswax and many plants from which the natural dyes were made.

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Living Blue, Bangladesh — The Textile Atlas

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Bangladeshi micro-brand Living Blue combines traditional craft technique and creative design collaboration with a community-driven mission. The warm-hearted team working in Rangpur makes a range of products – from shibori-dyed textiles to hand-stitched kanthas – for high-end markets.&nb

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A brief segment of the brilliant "Funk Lessons" by Adrian Piper, as shown at Nuit Blanche 2007, Toronto, Ontario, Canada

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Adrian Piper, The Mythic Being: I Embody Everything You Most Hate and Fear (1975)

A conceptual artist, Kantian philosopher and yogi, the New York-born, Berlin-based Piper has sought to transcend the boundaries between art and public discourse. Race is central to her investigations. As a light-skinned person of mixed African-American and white ancestry, Piper mobilises her own body and experiences as a social catalyst. In so doing, she has explored identity not as a fixed category but as a process.

Wendy Vogel, 17 May 2018, The Art Newspaper

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The Art Newspaper - International art news and events

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Blood, sweat, tears, piss and vinegar: Adrian Piper at MoMA

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The retrospective shows how the artist has reckoned with structures of racial, gender and sexual oppression through her 50-year career

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'Senior men, such as Yirawala, Mawalan Marika, Muŋgurrawuy Yunupiŋu, Narritjin Maymuru and, in later years, Gawirrin Gumana and Jack Wunuwun, demonstrated their belief that art was an eloquent and effective means of bridging the gulf that separates the two cultures (Indigenous and White Settlers / British). Yirawala, for one, painted so that balanda (non-Indigenous people) might appreciate the profound nature of Aboriginal culture and the essential bond that people have with the land. Many painted for land rights and human rights.

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corporateName=National Museum of Australia; address=Lawson Crescent, Acton Peninsula, ACT; contact=+61 2 6208 5000

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History of bark painting | National Museum of Australia

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More than 120 bark Aboriginal paintings by Australia’s great bark artists, including Narritjin Maymuru, Yirawala, Mawalan Marika and their contemporaries.

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Raelene Kerinauia Lampuwatu

Kayimwagakimi Jilamara, 2006

Kayimwagakimi Jilamara is an expression of contemporary Tiwi culture using traditional painting techniques from Melville and Bathurst islands – part of the Tiwi Islands group in the Arafura Sea north of Darwin.

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Located on the spectacular Sydney Harbour, the MCA is open to visitors every day.

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Te whare pora

Hineteiwaiwa is the principal goddess of te whare pora (the house of weaving), and she represents the arts pursued by women. She is known in Polynesia as well as Aotearoa New Zealand.

Te whare pora (the house of weaving) has been described as a ‘state of being’ as well as a place. Weavers who were initiated into this house had their levels of consciousness raised to be in a state of optimum readiness to receive knowledge.

Tāniko – a technique used to decorate the borders of fine garments, as well as bird cages, bird traps, and eel baskets. Tāniko is similar to European twining. These days tāniko is used to make belts, purses, bodices, armbands, headbands, and bandoliers.

Arapaki or tukutuku – ornamental latticework, usually found adorning the walls of wharenui.

Piupiu – the art of making a flax garment worn around the waist.

Whatu – the weaving technique known as the ‘cloak weave’, used to produce fabric.

Whiri – various forms of plaiting used to make poi, waist girdles, and headbands.

Raranga – one of the weaving styles used to make kete (bags and baskets).

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Museum of New Zealand Te Papa Tongarewa, Wellington, NZ

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Hineteiwaiwa is the principal goddess of te whare pora (the house of weaving), and she represents the arts pursued by women. She is known in Polynesia as well as Aotearoa New Zealand.

Hineteiwaiwa is also a guardian of childbirth. In the past, all female children were dedicated to her. She began the important office of ruahine, where a woman takes a critical role in ceremonies lifting the from newly built houses.

She is the head of the aho tapairu, an aristocratic female line of descent. In some iwi, she is said to be the daughter of Tāne and Hine Rauamoa. Sometimes she is referred to as Hina, the female personification of the moon.

Weaving: A state of being

Te whare pora (the house of weaving) has been described as a 'state of being' as well as a place. Weavers who were initiated into this house had their levels of consciousness raised to be in a state of optimum readiness to receive knowledge. This was achieved through karakia and initiation ceremonies.

It was believed that the karakia endowed the student with a receptive mind and retentive memory. They would become possessed with quick understanding and a thirst for deeper knowledge. Initiated weavers became dedicated to the pursuit of a complete knowledge of weaving, including spiritual concepts.

Very few weavers today experience this initiation ceremony. The practice was discouraged by missionaries, who considered it anti-Christian.

Types of weaving

Ngā mahi a te whare pora (the products and processes of the house of weaving) include the following:

Tāniko - a technique used to decorate the borders of fine garments, as well as bird cages, bird traps, and eel baskets. Tāniko is similar to European twining. These days tāniko is used to make belts, purses, bodices, armbands, headbands, and bandoliers.

Arapaki or tukutuku - ornamental latticework, usually found adorning the walls of wharenui.

Piupiu - the art of making a flax garment worn around the waist.

Whatu - the weaving technique known as the 'cloak weave', used to produce fabric.

Whiri - various forms of plaiting used to make poi, waist girdles, and headbands.

Raranga - one of the weaving styles used to make kete (bags and baskets).

Weaving in Te Papa's collection

Te Papa is a kaitiaki of many woven taonga. A selection is shown in the slideshow below. To see more examples of woven objects in the collection, visit Collections Online.
Woven objects on Collections Online

Kākahu 2000

Kākahu 2000 represents ideas of cultural innovation and the continuous thread of Māori weaving as an art form. It acknowledges and represents Māori women. Kākahu 2000 is a two-piece outfit, a maro (body covering worn round the waist) and a bodice. These are made from woven muka (flax fibre), kiekie, silk thread, leather, and pāua shell.

This work was created by Kohae Grace, of Ngāti Toa Rangatira, Ngāti Raukawa, Te Āti Awa, and Ngāti Porou descent. Her intention was to create new and fashionable kākahu (clothing) using the techniques and materials of her tīpuna (ancestors).

Kete whakairo

This kete whakairo (patterned bag) is made from finely woven harakeke. It has an open pattern of black and brown-yellow colours. The kete's iwi origin is currently unknown. It is thought to be the oldest documented kete in Te Papa's collection.

Hieke

This contemporary hieke (rain cape) was woven by Te Aue Davis of Ngāti Maniapoto. Te Aue's interest in making pākē (capes) from neinei ( Dracophyllum latifolium) was kindled after her kaumātua from Otaua Marae in Kaikohe described the waterproof qualities of neinei when collected at a particular time.

The backing of the hieke is woven from muka (flax fibre), with three types of tags woven into it. The reddish tags are made from neinei. These are water-resistant. The white kiekie ( Freycinetia) and gold pīngao ( Desmoschoenus) tags are more traditional in such capes.

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Hineteiwaiwa is the principal goddess of te whare pora (the house of weaving), and she represents the arts pursued by women. She is known in Polynesia as well as Aotearoa New Zealand. Hineteiwaiwa is also a guardian of childbirth. In the past, all female children were dedicated to her.

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Over the past four decades, Jacqueline Humphries has been working through the question of what contemporary abstract painting can mean in a society mediated online. . .she has used gridded stencils, fluorescent paint, emoticons, and black light, among other materials in order to paraphrase, parody, and rewrite the codes of post-war abstraction. She disrupts the traditional oppositions of figure/ground and flatness/depth to create anti-illusionistic, anti-representational images, making and then, as she calls it “unmaking” her works in order to toy with ideas of historicization and authenticity.

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Over the past four decades, Jacqueline Humphries has been working through the question of what contemporary abstract painting can mean in a society mediated online. Excavating the limits of her medium, Humphries generates a density of languages, forms and gestures native not only to the history of painting but also the codes and aesthetic registers that belong to the endless scroll of data and commerce on the flat cold surfaces of screens. Honing in on the surface of things, she has used gridded stencils, fluorescent paint, emoticons, and black light, among other materials in order to paraphrase, parody, and rewrite the codes of post-war abstraction.

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Through her photographs and moving image works, Iranian artist Hoda Afshar examines the politics of image-making. Deeply researched yet emotionally sensitive, her work can be seen as a form of activism as much as an artistic inquiry.

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Tourmaline’s Marsha: The Joy and Defiance of Marsha P. Johnson

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Tourmaline’s Marsha: The Joy and Defiance of Marsha P. Johnson

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We are happy to announce that September's recipient of The Creatives Grant is Tony Onuchukwu!

Tony is a composer, sound designer, audio engineer and former practising medical doctor based in Lewisham, South London. He makes music under the name Nu Garçon

Please enjoy a selection of his work below, or find him on Instagram

✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫✨🌟💫

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We are happy to announce that September's recipient of The Creatives Grant is Tony Onuchukwu! Tony is a composer, sound designer, audio engineer and former practising medical doctor based in Lewisham, South London.

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SFMOMA is committed to partnering with the most forward-thinking artists of our time and bringing their visions to life. Here, in their own words, many of these artists share their creative process and their stories.

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SFMOMA is committed to partnering with the most forward-thinking artists of our time and bringing their visions to life. Here, in their own words, many of these artists share their creative process and their stories.

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UbuWeb Since 1996 Film & Video Sound Dance Papers Historical Visual Poetry Conceptual Comics Conceptual Writing Contemporary Aspen Magazine Outsiders /ubu Editions 365 Days Project Ethnopoetics Electronic Music Resources UbuWeb Top Tens About Contact

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Hamad Butt, Familiars 3: Cradle, 1992, Vacuum-sealed glass, crystal iodine, liquid bromine, chlorine gas, water and steel. Dimensions variable. Installation at Tate Gallery, London, 199 . Tate Image © Jamal Butt

Hamad Butt, Transmission, 1990, Glass, steel, ultraviolet lights and electrical cables Dimensions variable., Installation at Milch, London, 1990. Tate. Image © Jamal Butt. Photo: Tim Martin.

Exhibition
Hamad Butt: Apprehensions

Hamad Butt: Apprehensions is the first major survey of Hamad Butt (b. 1962, Lahore, Pakistan; d. 1994, London, UK).

One of the most innovative artists of his generation, Hamad Butt was a pioneer of intermedia art, bringing art into conversation with science, whilst also referencing his Queer and diasporic experiences. He offered a nuanced artistic response to the AIDS crisis in the UK, taking a conceptual rather than activist approach.

Butt's conceptually and technically ambitious works seamlessly interweave popular culture, science, alchemy, science fiction, and social and cultural concerns, as forms that are simultaneously poetic and provocative. They imagine sex and desire in a time of 'plague' as seductive yet frightening, intimate yet isolating, compelling yet dangerous - literally, in some cases, threatening to kill or injure.

Born in Lahore, Pakistan, and raised in East London, Butt was British South Asian, Muslim by upbringing, and Queer. A contemporary of the Young British Artists, and their peer at Goldsmiths' College, London, Butt was described by art critics as epitomising the new 'hazardism' in art of the 1990s, as his works often imply physical risk or endangerment.

Before his untimely death in 1994, aged 32 of AIDS-related complications, Butt had completed and shown four major sculptural works; Transmission (1990) and the three-part installation, Familiars (1992), as well as leaving behind writings, drawings and plans for new installations. Butt's work offered a potent and critical response to HIV/AIDS, while opening up new dialogues between art and science to explore themes of precarity, toxicity, the spread of viruses, homophobia and racism - issues that continue to resonate with frightening poignancy today.

Read the full exhibition press release.

Hamad Butt was born in Lahore, Pakistan in 1962 and moved to live in East London with his family in 1964. He studied Fine Art at Goldsmiths from 1987 to 1990 and coincided with the Young British Artists (YBA) generation, many of whom studied alongside him there. His earliest works include countless paintings and prints, which were shown in exhibitions around London and the UK from 1983-87, including at Brixton Gallery, Walker Art Gallery, South London Gallery and London Lesbian and Gay Centre. From the late 1980s, Butt developed unprecedented large-scale sculptural installations using toxic or dangerous materials. His later works were exhibited at John Hansard Gallery (Southampton); Tate Gallery (now Tate Britain); Whitechapel Gallery; Milch; Institute of Contemporary Arts (all London); Manchester Art Gallery; and elsewhere. He continued to make works on paper throughout this time. Butt died of AIDS- related complications in London in 1994, aged 32. A book on his work, Familiars, was published posthumously in 1996. His work is in the permanent collections of Tate and IMMA.

Generously supported by:

Hamad Butt: Apprehensions has been generously supported by:

Cockayne - Grants for the Arts: a donor advised fund held at The London Community Foundation
Henry Moore Foundation Hamad Butt Exhibition Circle and Patrons, chaired by Gemma Rolls-Bentley and Russell Tovey: John Booth, Kevin Kane, Amrita Jhaveri, Frank Krikhaar.

Research for this exhibition has been supported by the Paul Mellon Centre for Studies in British Art

Public Programmes for this exhibition supported by the Centre for Public Engagement at Queen Mary University of London
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The exhibition is presented in partnership with Irish Museum of Modern Art

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Hamad Butt: Apprehensions - Whitechapel Gallery

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One of the most innovative artists of his generation, Hamad Butt was a pioneer of intermedia art, bringing art into conversation with science, whilst also referencing his Queer and diasporic experiences.

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Manifesto for Sustainable Experimentation - Beaconsfield

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Manifesto for Sustainable Experimentation Exhibition: 21 May – 9 August 2025 Manifesto for Sustainable Experimentation celebrates thirty years of Beaconsfield commissions in an exhibition of historic works and ephemera, interspersed with new commissions, screenings, performances, readings, workshops and other happenings.

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Curated by Dr. Omar Kholeif Lawrence Abu Hamdan | Souad Abdelrassoul | Sonia Balassanian | Huguette Caland | Saloua Raouda Choucair | Sarah Cunningham…

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Nolan Oswald Dennis: throwers | Exhibitions | Gasworks

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The Institute of Contemporary Arts (ICA) is London’s leading space for contemporary culture. We commission, produce and present new work in film, music, performance and the visual arts by today’s most progressive artists. In our landmark home on The Mall in central London, we invite artists and audiences to interrogate what it means to live in our world today, with a genre-fluid programme that challenges the past, questions the present and confronts the future.

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Prem Sahib in conversation with Francesco Ventrella - Studio Voltaire

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Listen to artist Prem Sahib and art historian Francesco Ventrella’s conversation about Sahib’s 2024 exhibition ‘Documents of a recent past’ at Studio Voltaire.