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The Pleasure Principle 2000 Sarah Lucas 

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The Pleasure Principle 2000 Sarah Lucas 

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Chairs, neon tube, light bulbs and underwear 116 x 181 x 251 cm 45¾ x 71¼ x 98¾"

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Composed of found objects, construction remnants and other offbeat materials, the art installations of Tadashi Kawamata are urban, gritty, in-your-face creations that are site-specific and evolve, twisting and morphing as they grow to monstrous proportions in public spaces.

His early work focuses on construction and deconstruction, challenging highly populated built environments with structure and forms composed of common materials usually ignored but impossible to miss in his massive installations that often stack up objects in semi-sacred and highly public squares and spaces.

In recent times, Kawamata is almost certainly best known by most for his incredible urban treehouses. Like birds nests, these structures appear chaotic, haphazard, organic and out of place in a highly-planned built environment or against the backdrop of classic architectural forms and masonry materials.

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Turning Trash into Public Sculpture & Installation Art

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Composed of found objects, construction remnants and other offbeat materials, the art installations of Tadashi Kawamata are urban, gritty, in-your-face creations that are site-specific and evolve, twisting and morphing as they grow to monstrous proportions in public spaces. His early work focuse ...

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Stories - Nasher Museum of Art at Duke University

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Welcome to Nasher Museum Stories! Here are our favorite videos, podcasts and photo essays, produced by museum staff. Peruse the museum's exciting acquisitions of art (gifts and purchases). Search for reviews in the arts press. Find behind-the-scenes articles about major art discoveries, faculty and student projects, art conservation, installing exhibitions and much more.

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It may not be enough to say these simple and innocent-looking wooden chairs have been tortured ... they have been battered, beaten, hammered, hung, smeared, spattered, shot, tarred and feathered, chained to the ground, burned at the stake and have even gone missing entirely.

The survivors featured in this extraordinary furniture art exhibit are horribly scarred and crippled, forever maimed from their ordeals. Each started as a simple spruce wood seat, but each perished in a different way - done in by contemporary shotgun blasts or hung from a traditional noose.

Modus Operandi seems a suitable enough name for this unique art furniture series from Polish designer Matylda Krzykowski. Each destruction fits a profile, each broken-down chair tells a tale. That there are thirteen unfortunate victims is also certainly no accident.

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Art of Torture: 13 Mutilated, Maimed & Massacred Chairs

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It may not be enough to say these simple and innocent-looking wooden chairs have been tortured ... they have been battered, beaten, hammered, hung, smeared, spattered, shot, tarred and feathered, chained to the ground, burned at the stake and have even gone missing entirely. The survivors featur ...

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T03244 CHAIR 1969

Not inscribed
Acrylic on glass fibre and resin with perspex and leather, 30 1/2 × 22 15/16 × 39 (77.5 × 56 × 99)
Purchased from the Waddington Galleries (Grant-in-Aid) 1981
Prov: Sold anonymously Sotheby's 4 December 1980, lot 394 repr.in colour; bt. Waddington Galleries
Exh: Allen Jones, Galleria Milano, Milan, June 1970 (works not listed, repr.); Kitsch, Galleria Blu, Milan, June 1971; Galleria Narciso, Turin, February 1971
Lit: Marco Livingstone, catalogue of the 1979 Allen Jones retrospective exhibition, n.p.; Marco Livingstone, Allen Jones: Sheer Magic, 1979, pp.71-2

In 1969 three female figures by Allen Jones each slightly larger than life size, 'Hatstand', 'Table' and 'Chair', were in fibreglass in of 6 by Gems Wax Models Ltd of Notting Hill, London, a firm of commercial who made (and make) shop window mannequins and sculptures for waxworks. Stylistically the figures are similar to those in Jones's of c.1967-8. For the figures Jones made working from memory, not in front of a model. From these drawings a professional sculptor, Dick Beech of Gems Wax Models, produced clay figures under Jones's direction; these clay figures were modified in accordance with his intentions. He wanted to make sculpture 'without fine art marks, devoid of fine art clothing'. When the first, 'Hatstand', a standing figure, was finished he realized that it might be construed as a bizarre window mannequin and so he decided to process the figure so that it would not appear to be just a decorative object. This he did by giving the other two sculptures a more obvious function, that of being a table and a chair, so that the viewer's expectation of what could be fine art would be questioned and allow the viewer to perceive the figure anew as a subject in art.

In Jones's view 'because these 3 sculptures of women are recognisably representational it is less obvious that the sculpture is not about being naturalistic. They are not so much about representing woman but the experience of woman, not an illusion'.

With reference to his work in general Jones considers (slightly modified statement quoted by Livingstone, op.cit.) that:

' The erotic impulse transcends cerebral barriers and demands a direct emotional response. Confronted with an statement people readily defer to an expert; but confronted with an erotic statement everyone is an expert. It seems to me a democratic idea that art should be accessible to everyone on some level, and eroticism in one such level'.

Jones considers that the three sculptures 'Hatstand', 'Table' and 'Chair' are the most radical statements that he has made. According to Sotheby's sale catalogue the Tate cast is number 6.

Published in:
The Tate Gallery 1980-82: Illustrated Catalogue of Acquisitions, London 1984

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acrylic paint on glass fibre and resin with perspex and leather

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T03244 CHAIR 1969 Not inscribedAcrylic on glass fibre and resin with perspex and leather, 30 1/2 × 22 15/16 × 39 (77.5 × 56 × 99)Purchased from the Waddington Galleries (Grant-in-Aid) 1981 Prov: Sold anonymously Sotheby's 4 December 1980, lot 394 repr.in colour; bt.