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Explore the Collections - Search more than 1.2 million objects

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Designer Maker User is a free exhibition introducing part of the Design Museum’s collection, looking at the development of modern design through these three interconnected roles. Explore the free display to discover some of the designers and makers who shaped the world we live in.

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Join us after dark for the first Soane Late of our autumn season, as we delve deeper into the amazing stories and secret of Sir John Soane's unique Museum, house, and studio.

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An inspiring, surprising, family-friendly, free Museum and Gardens in south London. The Horniman connects us all with global cultures and the natural environment, encouraging us to shape a positive future.

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Being Human explores what it means to be human in the 21st century. It reflects our hopes and fears about new forms of medical knowledge, and our changing relationships with ourselves, each other and the world.

Featuring 50 artworks and objects, the gallery is divided into four sections: Genetics, Minds & Bodies, Infection, and Environmental Breakdown. Discover a refugee astronaut carrying their belongings to an unknown destination, sniff a perfumed bronze sculpture that smells of breast milk, listen to an epidemic jukebox, and watch a fast-food outlet slowly flood.

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Our new permanent gallery explores trust, identity and health in a changing world.

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Discover the collections held at the Royal College of Surgeons of England

Learn about John Hunter, the 18th century surgeon anatomist whose collection is at the heart of the Hunterian Museum

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Discover the art and science of surgery from ancient times to the present day.

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Young V&A: the Victoria & Albert Museum’s museum for kids

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The former V&A Museum of Childhood boasts hundreds of toys on display plus loads of interactive exhibits

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Explore temporary exhibitions and permanent installations on at the Museum.

On display: Campaign for Food Equality

Until December 2023
Explore items from our collections that tell a story of food at home through the ages, food equality, and eating sustainably.

Women's Weeds: The hidden history of women in medicine

7 July to 30 September 2023
Women's Weeds is an audio installation in our Gardens Through Time by Dr Romany Reagan, exploring the complex ways in which women contributed to science and why their stories have been lost.

Mollspeak

An ever changing composition of word and sound by writer Maria Fusco with composer Olivier Pasquet

In the Undercroft

Tomorrowland

A multimedia artwork by local schoolchildren exploring Hackney in 2050.

In the Rooms Through Time continued

Rhymes Through Time

Exploring the role of children in the home through poetry and interactive design.

Through the Rooms Through Time

What's your cup of tea?

A project working with the local community in Hackney to create a custom tea blend.

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Exhibitions | Installations | Displays | Museum of the Home

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Exhibitions and installations - Information about the exhibitions and installations currently on display at the Museum of the Home

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Adrian Sassoon -contemporary decorative arts

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Adrian Sassoon -contemporary decorative arts

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Adrian Sassoon is the UK's leading dealer in Contemporary Works of Art and Antique French Porcelain. We exhibit unique, museum-quality works of art at some of the world's most prestigious art fairs.

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Magnificent Obsessions visiting the exhibition 

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Magnificent Obsessions visiting the exhibition 

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https://www.reziawahid.com/

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Artist | Weaver | Educator

Rezia Wahid MBE

A Visual Poetics in Gossamer ...

Textiles are more than pieces of cloth: they appear in many different forms, communicating texture, colour, form, and shapes; as well as cultural, religious, social and political history.

The textiles I weave are more than mere pieces of cloth: they are my journeys, story, and feelings. They represent the sanctity, beauty and serenity of nature and light, and are the revival of cultural form and technique with a contemporary approach.

Find out about my studio...

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Textiles are more than pieces of cloth: they appear in many different forms, communicating texture, colour, form, and shapes; as well as cultural, religious, social and political history. The textiles I weave are more than mere pieces of cloth: they are my journeys, story, and feelings.

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Yinka Shonibare CBE RA - Yinka Shonibare CBE RA

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Yinka Shonibare CBE RA's interdisciplinary practice examines race, class and cultural identity through the media of sculpture, painting, photography, film, textiles and public works.

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Sarah Lucas is internationally celebrated for her bold and provocative use of materials and imagery.

Using ordinary objects in unexpected ways, she has consistently challenged our understanding of sex, class and gender over the last four decades.

This exhibition presents her practice in all its diversity across sculpture, installation and photography, narrated in her voice, and looking well beyond the 1990s Young British Art world.

Breaking boundaries with humour and daring, Lucas shows us the whole spectrum of what it means to be human.

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Sarah Lucas is internationally celebrated for her bold and provocative use of materials and imagery. Using ordinary objects in unexpected ways, she has consistently challenged our understanding of sex, class and gender over the last four decades.

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Introduction to The Blk Art Group

All of the members of the group were children of Caribbean migrants raised in the industrial landscape in and around the West Midlands. Their first exhibition, Black Art An' Done, was held at Wolverhampton Art Gallery and focused on the concerns of the black community and racial prejudice. The group sought to empower black artists as well as encouraging young white artists to be more socially relevant in their practice. Working with a variety of mediums such as painting, installation, assemblage and sculpture they questioned Britain's social, cultural and political legacies by appropriating, critiquing and reinventing past art.

Many of the artists associated with the Blk Art Group went on to participate in the British black arts movement.

Artists associated with the group include Eddie Chambers, Dominic Dawes, Lubaina Himid, Claudette Johnson, Wenda Leslie, Ian Palmer, Keith Piper, Donald Rodney, Marlene Smith.

In focus: Donald Rodney

Artist Donald Rodney appropriated images from mass media and popular culture to explore issues associated with history, representation, masculinity, racial identity and racism. He also questioned the legacy of museums and galleries: David Lawson explained in an interview in 2004 that Rodney once told him he would like to re-create Tate Britain out of sugar cubes - a material which had brought Britain prosperity at a human cost.

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Tate glossary definition for Blk Arts Group: Formed in Wolverhampton, England, in 1979, The Blk Art Group was an association of young black artists who raised questions about what Black art was, its identity, and what and what it could be in the future

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The first major survey of work by internationally acclaimed British artist Mike Nelson features his psychologically charged and atmospheric installations.

Need to know

Age recommendation

Under-16s must be accompanied by an adult.

Access information
The exhibition includes two installations - The Deliverance and the Patience from 2001 and I, IMPOSTOR (the darkroom) from 2011 - with narrow period doors and small, restricted interior spaces. These are not accessible for wheelchair users and some people with mobility impairments.

In acknowledgement of this, we're offering a discounted £6* ticket (usual price £15/£16*) for visitors whose access to these installations is limited.

And, to ensure all visitors can experience these works, we've produced artist-led video walkthroughs of the two installations, viewable on tablets inside the gallery.

Booking
The nature of the installations in this exhibition mean the Hayward Gallery can hold fewer visitors than usual. To avoid disappointment, we recommend booking in advance.

Standard entry: Weds - Fri £15, Sat - Sun & Bank Holidays £16*

Members: Free

Concessions: £12**

Students: £12, only available Wed - Fri & after 5pm on Sat

Under-30s & Lambeth residents: £6, only available Wed - Fri & after 5pm on Sat

Ages 12 - 16: £6

Under-12s: Free

* Excludes £3 booking fee.

** Limited availability. Read about concessions.

Tickets can only be sold through the Southbank Centre and our authorised agents, and can't be resold. You can return your tickets to the Southbank Centre for a credit voucher up to 48 hours before the event. Tickets resold on any third-party platforms will become invalid.

Get presale tickets

Members get the first chance to book our entire programme of events, including go-down-in-history gigs, concerts with world-class orchestras, and talks from cultural icons and political giants.

Hayward Gallery

The Hayward Gallery is closed and will reopen for the exhibition Hiroshi Sugimoto on Wednesday 11 October 2023.

Wed - Fri, 10am - 6pm
Sat, 10am - 8pm
Sun, 10am - 6pm
Closed Mon & Tue

Our address is: Hayward Gallery, Belvedere Road, London SE1 8XX.

The nearest tube and train stations within 5-7 minutes walk are Waterloo (Northern, Bakerloo, Jubilee and Waterloo & City lines) and Embankment (District & Circle lines).

There are also lots of bus routes with stops 2-5 minutes from our venues. For more information on getting here by road, rail or river.

Visit our Getting here page

Some free events, including our HENI Project Space exhibitions, don't require a pre-booked ticket - you can simply turn up on the day. These events are labelled FREE on our website with no way to book.

If you don't receive your e-ticket

Members

Advance booking for schools

We are happy to welcome primary, secondary and SEND schools during Hayward Gallery opening hours at the following rates:

Primary schools: Free, booking required.
Secondary schools in Lambeth and Southwark: Free, booking required.
All other secondary schools: £8 per pupil. Accompanying teachers go free.

Please email us with your preferred visit date and any other relevant school and pupil information at[email protected]

If you have any further questions or need anything else to support your visit, please contact the schools team.

For step-free access to the Hayward Gallery from the Queen Elizabeth Hall Slip Road, please enter the Royal Festival Hall via the Riverside Entrance Doors next to Foyles on Riverside. From there, take the Lift 3 up to Level 2 and exit to the Riverside Terrace. Follow the route past the Queen Elizabeth Hall to the Hayward Gallery.

The Hayward Gallery car park lift, the external lift near the Artists' Entrance on Southbank Centre Square and the JCB Glass Lift are currently undergoing maintenance.

There may be short queues to enter the building and the exhibition. If you are not able to queue or need further assistance, our hosts are here to help you.

Parking
Blue Badge parking at National Theatre
Alternative parking for Blue Badge holders visiting the Southbank Centre can be found at the National Theatre car park (330 metres). If you are visiting the Hayward Gallery, just take your badge and car park ticket to the Ticket Desk in the gallery foyer for validation before you leave.

Please note: on Sunday when the National Theatre building is closed there is no step-free access from the car park.
Blue Badge parking APCOA Cornwall Road

Eating & drinking on-site

The Hayward Gallery Cafe is the ideal spot for some pre-exhibition sustenance or a post-visit drink.

Drop in for a speciality coffee, artisan sandwiches, seasonal fresh salads and an array of homemade cakes and pastries from our in-house baker. Soak up the views with a crisp glass of wine, locally sourced craft ale or one of our signature cocktails.
Find out more

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The first major survey of work by internationally acclaimed British artist Mike Nelson features his psychologically charged and atmospheric installations.

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Dreamland News is a site devoted to the life and work of filmmaker John Waters.
Here you'll find the latest news about Waters personal appearances, films, books, DVDs, and a tribute to the one and only Divine.
The most current news updates are posted to the Dreamland News Facebook page. If you have news to share, please email us!

Dreamland News is not officially affiliated with John Waters. The site began in 1995 as a fan tribute by Jeff Jackson, who continues to maintain it. Over the years, content has been contributed by many Dreamland correspondants and fans.
Dreamland News is a not-for-profit labor of love. Anyone who would like to contribute finacially is welcome to Donate a Dollar to Dreamland through PayPal. All money contributed goes towards annual fees for the hosting the site.

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Dreamland is the ultimate guide to John Waters.

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Two girls. Conceived in the same moment. Born within minutes of each other. Indistinguishable in many ways. But for one defining difference. In the 1940s, in a society that deemed their distinctions insurmountable, their eventual separation may have seemed inevitable; that is to everyone except the twins themselves. This is the story of Judith and Joyce Scott; how they were torn apart, the pain of separation and how their undeniable bond and eventual reunion healed life-long wounds and, against all the odds, sparked the immergence of a extraordinary talent. A talent that would see one of them become a world-renowned fiber artist.

Birth and Separation

Born in 1943 into a middle-class family in Cincinnati, Ohio, Joyce Scott was a healthy baby. There was no reason not to assume that she would lead anything other than a 'normal' life. In fact, her life has been extraordinary, partly due to the fact that her twin sister, Judith was born with an extra chromosome.

In 2011, speaking on the BBC Culture show, Joyce explained how she and her sister were inseparable in the early years; 'We played in the same space, slept in the same bed, we did absolutely everything together". Their three brothers provided little distraction from each other's company. They would while away the hours in what seemed like an idyllic existence; inventing games, digging in the sandbox and holding make-believe tea-parties.

But as the years passed, differences in their development began to manifest. When Joyce began speaking, Judith didn't. It wasn't until many years later that the reason for this inability to find a voice would be diagnosed; Judith had been left profoundly deaf by a bout of Scarlet fever in infancy.

Her deafness undiagnosed, Judith failed to qualify for the only public school class for children with learning disabilities. It is likely, in hindsight, that she simply couldn't hear the questions being put to her, but the entry-test provided further evidence of Judith's retardation and she was deemed to be 'uneducable'.

From that point onwards, pressure from doctors and psychologists began to mount. It was practically unheard of at that time for children with severe disabilities to live with their parents. Judith's mother, Lillian, was faced with a heart-rending decision.

In the Autumn of 1950, when the twins were 7 and a half years old, Joyce woke to find her sister gone. In the months that followed her parents descended into a state of guilt-ridden depression and despair, but nobody felt the loss more profoundly than Joyce. It was as if one half of herself had been abruptly ripped away, leaving her bereft, lonely and with an irrevocable sense of emptiness. Indeed, the remainder of her childhood became a quest to fill the void left by her sister's absence.

Early adulthood

As a young adult, sub-consciously seeking to heal the wound left by the loss of her sister, Joyce spent her time caring for other children who had been tarnished by society with the label 'outcast'. Even this did not bring peace.

All those years earlier, Judith had become a ward of the state of Ohio and had since been living in institutions for the disabled and discarded. These were not forward-thinking establishments and the 'care' administered was perfunctory at best, but often cruel and violent.

The official records state "Judith does not seem to be in good contact with her environment. She does not get along well with other children, is restless, eats messily, tears her clothing, and beats other children." Joyce recalls another document stating that on one occasion Judith had shown an urge to join in with other children who were drawing on pieces of scrap paper, but was told she was 'too retarded to draw' and had her crayons confiscated.

Against the wishes of their mother, Joyce eventually sought out Judith and would visit her in the institution. Her daughter Ilana would accompany her from time to time and remembers "cold floors, people yelling. Judy was just sobbing the entire time we were there".

The epiphany

After many years of heart-ache, Joyce took the decision, after further objections from her mother, to become Judith's legal guardian. She describes the moment as 'epiphanal'. It was not a straightforward process; negotiations were drawn-out and difficult. But finally in 1986, a period of deep-healing began, when Judith moved to California to live with Joyce and her family.

Creative discovery

Joyce enrolled Judith at the Creative Growth Art Centre in Oakland as a means of occupying her time; Joyce was working as a pediatric nurse so 24-hour care of her sister was impossible.

Creative Growth is a visionary arts centre where people with mental or psychological difficulties are given total artistic freedom. Joyce Scott describes it as 'joyful'.

For nearly two years, Judith was unresponsive; she didn't enjoy painting, sculpture or sewing. But one fiber arts workshop with the textile artist Sylvia Seventy changed all that. Finally Judith had discovered something she loved, and what's more, something for which she had an innate talent.

She spontaneously started wrapping pieces of wood in fiber, fabric and threads and created her earliest pieces, since referred to as 'totems'.

From then on she didn't stop. She was constantly creating. Her process was erratic and instinctive. She would wrap thread and yarn around anything she could get her hands on; she appropriated magazines, chairs and even a bicycle wheel. It quickly became a source of communication for Judith, having been verbally and socially 'blocked' for most of her life. Tom di Maria, director of Creative Growth, believes she was finally 'learning to speak'. Her early pieces were her first words.

Her gift was recognised and encouraged by the staff at the Creative Growth Art Centre and Judith was given free-reign over the studio. No object was out-of-bounds. She would work on a piece for days, weeks, even months. She became more and more focused and would not allow interruption or distraction. She also became more discerning in her selection of threads and yarns, considering various hues and shades, wrapping the treasure she had gathered until she alone decided a piece was complete. At that point she would brush her hands together and push the piece away.

But she was not only uncovering a long-hidden talent, Judith was also finding herself. Having found a voice, she became more confident. She began experimenting with extravagant clothing and accessories.

Judith Scott's body of work

Her work-cycle was constant; five days a week for eighteen years. She produced over 200 cocoon-like sculptures in that time, many of which can be found in international museums and private collections. Some are small and intimate, others almost unmanageable in size.

Her work is an abstract reflection of her life. The colourful, idyllic childhood, the loneliness and isolation of institutional care and, above all, the connection with her sister Joyce; one piece is widely believed to represent twins reaching out to one another.

In 1999 the first exhibition of her work coincided with the release of John MacGregor's book Metamorphosis: The Fiber Art of Judith Scott. This was instrumental in introducing her work to a much wider audience and propelled her to international recognition as an 'outsider' artist. Eventually though her disability became secondary to her art and her work became celebrated on its own merit.

Judith became the first ever artist with Down's Syndrome to be featured in the San Francisco Museum of Modern Art. Her work can still be seen in permanent collections in New York City, Paris, and London.

Judith Scott passed away in 2005, living 61 years. She died in the arms of her sister Joyce.

Which textile artist (living or dead) would you like to learn more about? Let us know in the comments below.

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Textile artist Judith Scott: Uncovering innate talent - TextileArtist.org

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Judith Scott suffered from Downs Syndrome but had an innate talent for fiber art, creating over 200 textile sculptures. Read her extraordinary story.

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Biography

Agar was born in Buenos Aires to a Scottish father and an American mother. She went to school in England and studied at the Slade School of Fine Art, London. Rebelling against her privileged upbringing, she left her husband and in 1929 moved to Paris with her lover, the writer Joseph Bard. In the 1930s Agar was a leading British exponent of Surrealism, although she remained distinct from the political and theoretical aspects of the movement. Agar made collages, paintings, objects and photographs and was the only professional British female artist who exhibited at the 1936 International Surrealist Exhibition in London.

Surrealism was one of the most radical movements of the twentieth century. Founded by the poet André Breton in 1924 it was both a literary and artistic movement.

15 min read

Glossary terms

Glossary terms

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Agar was born in Buenos Aires to a Scottish father and an American mother. She went to school in England and studied at the Slade School of Fine Art, London. Rebelling against her privileged upbringing, she left her husband and in 1929 moved to Paris with her lover, the writer...

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Learn about the work and career of artist Man Ray. Artworks, biography, exhibitions, editorial content, news, museum exhibitions, press, and more.

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The Met's Heilbrunn Timeline of Art History

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Embodying the intellect of his literary contemporaries Marcel Proust and James Joyce, Marcel Duchamp (1887-1968) has been aptly described by the painter Willem de Kooning as a one-man movement. Jasper Johns has written of his work as the "field where language, thought and vision act on one another." Duchamp has had a huge impact on twentieth-century art. By World War I, he had rejected the work of many of his fellow artists as "retinal" art, intended only to please the eye. Instead, Duchamp wanted, he said, "to put art back in the service of the mind."

Born in Normandy in northern France, Duchamp traveled back and forth between Europe and the United States for much of his life. His initial foray into modern art followed the trends of his contemporaries, with his first paintings in the mode of Cézanne and the Impressionists, while after 1910 his work reflects a shift toward Cubism. One of his most important works, Nude Descending a Staircase (No. 2) (1912; Philadelphia Museum of Art) (a second version of a work on cardboard from 1911), however, reflects Duchamp's ambivalent relationship with Cubism. He adopted the limited palette of Cubist paintings, but his invigorated figure is in a state of perpetual motion-a very different effect from Picasso and Braque's Analytic Cubism that held figures tightly in place. Provoking negative reactions from even the Parisian avant-garde, the painting was rejected by the Salon des Indépendants for both its title and the artist's mechanistic, dehumanizing rendering of the female nude. The following year, it sparked controversy at the New York Armory Show, helping to establish Duchamp's reputation as a provocateur overseas and paving the way for his arrival in New York two years later.

Subverting traditional or accepted modes of artistic production with irony and satire is a hallmark of Duchamp's legendary career. His most striking, iconoclastic gesture, the readymade, is arguably the century's most influential development on artists' creative process. Duchamp, however, did not perceive his work with readymade objects as such a radical experiment, in part because he viewed paint as an industrially made product, and hence painting as an "assisted-readymade." Moreover, he had already begun to incorporate chance operations into his practice-for example, with 3 Standard Stoppages (1913-14; Museum of Modern Art, New York)-and thus had already begun to surrender artistic control and empower other factors to determine the character of a work of art. With Bicycle Wheel (1913; now lost), the first readymade, Duchamp moved toward a creative process that was antithetical to artistic skill. He wanted to distance himself from traditional modes of painting in an effort to emphasize the conceptual value of a work of art, seducing the viewer through irony and verbal witticisms rather than relying on technical or aesthetic appeal. The object became a work of art because the artist had decided it would be designated as such. Bicycle Wheel consisted of a fork and the wheel of a common bicycle that rested upon an ordinary stool. The mundane, mass-produced, everyday nature of these objects is precisely why Duchamp chose them (later works would include a snow shovel, a urinal (Philadelphia Museum of Art), and a bottlerack (Philadelphia Museum of Art), to name a few). As a result, he ensured that the fruits of modern industrial life would be a fertile resource in the production of works of art.

Naturally, Duchamp's iconoclasm appealed to the vehemently untraditional and bitingly critical nature of the Dada movement. His work can easily be understood as a forerunner to this revolutionary sensibility, which actively sought to undermine the reigning values of conservatism that governed Europe and that perpetuated the devastating reality of World War I. Duchamp's own experience with Dada, however, occurred while he lived in New York, in the circle of Francis Picabia, a Franco-Cuban artist and writer, and the American painter and photographer Man Ray, as well as the American collectors Katherine Dreier and Louise and Walter Arensberg. The nature of New York Dada was less overtly political than its European strain. Instead, satirical works such as Duchamp's readymade Fountain (1917) tested the limits of public taste and the boundaries of artistic technique. By pushing and ultimately transgressing such boundaries within the art world, Duchamp's works reflected the artist's sensibility. His use of irony, puns, alliteration, and paradox layered the works with humor while still enabling him to comment on the dominant political and economic systems of his time.

The Bride Stripped Bare by Her Bachelors, Even (1915-23; Philadelphia Museum of Art), also known as The Large Glass, can be seen as summarizing Duchamp's view that painting and sculpture were fundamentally incompatible and inadequate as art forms with which to render and reflect contemporary cultural life. His extensive preparatory drawings, writings, and studies for The Large Glass (many of which are contained in The Green Box of 1934 [ 2002.42a-vvvv]) indicate his development away from realistic representations of forms to a more abstracted, mathematical mode of connoting the real world. His artistic evolution must therefore be understood as an assault on traditional artistic practices and a desire to accommodate a modern-day fascination with industrial processes and products.

Although in the 1920s, Duchamp famously renounced artmaking in favor of playing chess for the remainder of his life, he never fully retreated from his quintessential role as artist-provocateur. Duchamp is associated with many artistic movements, from Cubism to Dada to Surrealism, and paved the way for later styles such as Pop (Andy Warhol), Minimalism (Robert Morris), and Conceptualism (Sol LeWitt). A prolific artist, his greatest contribution to the history of art lies in his ability to question, admonish, critique, and playfully ridicule existing norms in order to transcend the status quo-he effectively sanctioned the role of the artist to do just that.

Rosenthal, Nan. "Marcel Duchamp (1887-1968)." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000-. http://www.metmuseum.org/toah/hd/duch/hd_duch.htm (October 2004)

Lebel, Robert. Marcel Duchamp. New York: Grove Press, 1959.

Schwarz, Arturo. The Complete Works of Marcel Duchamp 2 vols. 3d rev. ed. New York: Delano Greenridge Editions, 1997.

Tomkins, Calvin. Duchamp: A Biography. New York: Henry Holt, 1996.

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Marcel Duchamp (1887-1968) | Essay | The Metropolitan Museum of Art | Heilbrunn Timeline of Art History

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Marcel Duchamp's] most striking, iconoclastic gesture, the readymade, is arguably the century's most influential development on artists' creative process.

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How the West was Won 1982 is a large square painting by the British artist Donald Rodney. In bright colours, rough brushstrokes and a child-like style, the work depicts an encounter between two figures in a desert landscape. On the left-hand side of the painting stands a pink-skinned man in black clothing and a large black hat. Grinning in a sinister fashion with his jagged teeth and pointed grey tongue prominent, he points what appears to be a gun at a figure wearing a feathered headdress associated with Native Americans, who faces the viewer with an unhappy expression. In the background light blue clouds and a vivid sun sit in a dark blue sky above the desert. The title of the work is written at the top of the painting in capital letters, while the artist's name and the date 27 September 1982 run along the bottom edge. Curving around the body and the hat of the gunman is the phrase: 'THE ONLY GOOD INJUN IS A DEAD INJUN'. The overall composition is framed with a black painted border containing intermittent white patches. The gun was represented originally by a red toy pistol glued to the canvas, but this was lost before the work was acquired by Tate in 2007 (see Beaven 2011, accessed 12 August 2014).

The title of the painting refers to the epic Hollywood film How the West was Won (1962), directed by John Ford, Henry Hathaway, George Marshall and Richard Thorpe. This source is perhaps alluded to by the painting's black border with white patches, which resembles that of a film frame. Whereas the film depicted the colonisation of the American West as a brave and exciting struggle, Rodney's painting suggests a less heroic and more crudely violent narrative. As the artist and art historian Eddie Chambers has argued, in How the West was Won Rodney critiques 'Hollywood's "cowboys and Indians" films that tended to present Indian resistance to settler domination as the criminality of savages, for which ruthless suppression was the only fitting response' (Chambers 2003, p.40, note 17). 'The only good Indian is a dead Indian' is a phrase commonly attributed to the United States Army General Philip Sheridan, who is said to have uttered it in 1869.

How the West Was Won was made while Rodney was an undergraduate student at Trent Polytechnic in Nottingham, where he completed his degree in fine art between 1981 and 1985. It is closely related to another painting that he also dated September 1982, Sadly the Redskin Has His Reservations 1982, which depicts a desert meeting between a caricatured 'cowboy' and 'Indian'. These two paintings were the first by Rodney to incorporate text, which became a consistent feature of his work. Both works demonstrate how the artist sought to examine the racial implications of historical events through dark humour, parody, and the appropriation of images from popular culture, especially film and comic strips.

Rodney's work after How the West Was Won, which includes photographs, sculptures and installations, continued to explore aspects of racial identity, especially in relation to Britain's colonial history, in combination with works investigating the condition of sickle-cell anaemia, from which the artist suffered (see, for example, In the House of My Father 1996-7, Tate ). In 1987 Rodney wrote, 'Destruction, Oppression, State Violence, and Hidden History constitute the principal themes governing my work' (quoted in Mappin Art Gallery 1987, p.27).

In 1981 Rodney joined a group of young black artists, including Eddie Chambers, Keith Piper, Marlene Smith and Claudette Johnson, who were known first as the Pan-Afrikan Connection, and then from 1984 as the Blk Art Group. They became an influential collective producing exhibitions, events and artworks that engaged with the politics of race. How the West Was Won was shown in one of the group's earliest exhibitions, The First National Black Art Convention, Open Exhibition of Black Art, which was held at the Faculty of Art and Design Gallery at Wolverhampton Polytechnic in October 1982.

Further reading
Depicting History: For Today, exhibition catalogue, Mappin Art Gallery, Sheffield 1987, pp.26-7.
Eddie Chambers, 'The Art of Donald Rodney', in Richard Hylton (ed.), Donald Rodney: Doublethink, London 2003, pp.20-41.
Kirstie Beaven, 'How Do You Deal with an Artwork that Has a Missing Piece?', Tate Blog, 16 December 2011,
http://www.tate.org.uk/context-comment/blogs/how-do-you-deal-artwork-has-missing-piece, accessed 12 August 2014.

Richard Martin
August 2014

Supported by Christie's.
Does this text contain inaccurate information or language that you feel we should improve or change? We would like to hear from you.

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'How the West was Won', Donald Rodney, 1982 | Tate

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'How the West was Won', Donald Rodney, 1982

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Chen Zhen (Chinese: 陈箴; 4 October 1955 - 13 December 2000) was a Chinese-French conceptual artist known for his large-scale sculptures and installations such as La Danse de la fontaine émergente in Paris. He is recognized as one of the most important Chinese artists since the 1990s.

Born in Shanghai and educated in Shanghai and Paris, Chen suffered from autoimmune hemolytic anemia and died at age 45. He was the brother of Chen Zhu, a vice chairman of the National People's Congress of China.

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Artist and activist Jimmie Durham (b. 1940) has worked as a visual artist, performer, essayist, and poet for more than forty-five years. A political organizer for the American Indian Movement during the 1970s, he was an active participant in the downtown New York City artistic community in the 1980s. In 1987 he moved to Cuernavaca, Mexico, then to Europe in 1994, where he has lived ever since. Predominantly a sculptor, Durham often combines found objects and natural materials and incorporates text to expose Western-centric views and prejudices hidden in language, objects, and institutions. Calling himself an "interventionist," Durham is oftentimes critical in his analysis of society but with a distinctive wit that is simultaneously generous and humorous.

Durham's expansive practice spans sculpture, drawing, collage, photography, video, and performance, and the exhibition includes approximately 120 objects dating from 1970 to the present. It is accompanied by a catalogue comprising several scholarly essays, an interview with the artist, a chronology, and a selection of Durham's own writings, both old and new. The first North American retrospective of Durham's work, At the Center of the World traces his remarkable attentiveness to materials and characteristic approach to assemblage while demonstrating his commitment to shedding light on the complexities of historical narratives, notions of authenticity, and the borders and boundaries that try to contain us.

Jimmie Durham: At the Center of the World is organized by the Hammer Museum, Los Angeles, and curated by Anne Ellegood, senior curator, with MacKenzie Stevens, curatorial assistant. The installation at the Whitney Museum is overseen by Elisabeth Sussman, Sondra Gilman Curator of Photography, and Laura Phipps, assistant curator, Whitney Museum of American Art.

Jimmie Durham: At the Center of the World is organized by the Hammer Museum, Los Angeles.

The exhibition is made possible, in part, by generous support from The Andy Warhol Foundation for the Visual Arts and the Henry Luce Foundation.

In New York, generous endowment support is provided by The Keith Haring Foundation Exhibition Fund.

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Jimmie Durham: At the Center of the World

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Artist and activist Jimmie Durham (b. 1940) has worked as a visual artist, performer, essayist, and poet for more than forty-five years. A political organizer for the American Indian Movement during the 1970s, he was an active participant in the downtown New York City artistic community in the 1980s.

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Throughout his career Woodrow has exhibited extensively worldwide. Solo shows of his work have been hosted at Sabine Wachters Fine Arts, Knokke, Belgium, MacKenzie Art Gallery, Canada, Bloomberg Space in London, Château Musée, Dieppe, France, Wakefield, Palacio Nacional de Queluz, Lisbon, Portugal, the Tate and Tate Modern, London, Institut Mathildenhöhe, Darmstadt, Germany and the Whitechapel Art Gallery, London, amongst other places, with a major retrospective of his work being held at the Royal Academy of Arts at the end of 2013. Group exhibitions include Making it: Sculpture in Britain 1977-1986 at the Longside Gallery, Keywords: Art, Culture & Society in 1980's Britain at Tate Liverpool, Post Pop: East Meets West at the Saatchi Gallery, London, Once Removed: Sculpture's Changing Frame of Reference at Yale University Art Gallery, New Haven, USA and Lead Astray, a show with Richard Deacon that took place at Yorkshire Sculpture Park, Wakefield in 2005.

His work is held in numerous public and private collections including the Museum of Modern Art, New York, USA, Fundacao Calouste Gulbenkian, Lisbon, Portugal and the Rijksmuseum Kroller-Muller, Netherlands.

Please contact us for more information on work by Bill Woodrow.

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Bill Woodrow (b.1948) emerged as a pivotal figure in a new generation of British sculptors in the early 1980s, who centred on the use of found-objects and/or simple manufacturing procedures. Often using discarded or waste objects and ephemera, such as old washing machines, car parts, cutlery or scra

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Antonio Caro, Colombian conceptualist, 1950–2021

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The artist was known for his appropriation of logos and texts

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Zineb Sedira (born April 1st, 1963) is a London-based Franco-Algerian feminist photographer and video artist, best known for work exploring the human relationship to geography.

Sedira was shortlisted for the 2021 Deutsche Börse Photography Foundation Prize.

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Artist page for Zineb Sedira (born 1963)

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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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Zanele Muholi is one of the most acclaimed photographers working today, and their work has been exhibited all over the world. With over 260 photographs, this exhibition presents the full breadth of their career to date.

Muholi describes themself as a visual activist. From the early 2000s, they have documented and celebrated the lives of South Africa's Black lesbian, gay, trans, queer and intersex communities.

In the early series Only Half the Picture, Muholi captures moments of love and intimacy as well as intense images alluding to traumatic events - despite the equality promised by South Africa's 1996 constitution, its LGBTQIA+ community remains a target for violence and prejudice.

In Faces and Phases each participant looks directly at the camera, challenging the viewer to hold their gaze. These images and the accompanying testimonies form a growing archive of a community of people who are risking their lives by living authentically in the face of oppression and discrimination.

Other key series of works, include Brave Beauties, which celebrates empowered non-binary people and trans women, many of whom have won Miss Gay Beauty pageants, and Being, a series of tender images of couples which challenge stereotypes and taboos.

Muholi turns the camera on themself in the ongoing series Somnyama Ngonyama - translated as 'Hail the Dark Lioness'. These powerful and reflective images explore themes including labour, racism, Eurocentrism and sexual politics.​

The exhibition is based on the artist's 2020-21 exhibition at Tate Modern and will include new works produced since then.
The Huo Family Foundation
Research supported by Hyundai Tate Research Centre: Transnational in Partnership with Hyundai Motor.
The exhibition in 2020 was supported by the Zanele Muholi Exhibition Supporters Circle, Tate Patrons and Tate Members

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Zanele Muholi is one of the most acclaimed photographers working today, and their work has been exhibited all over the world. With over 260 photographs, this exhibition presents the full breadth of their career to date. Muholi describes themself as a visual activist.

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Grayson Perry is a great chronicler of contemporary life, drawing us in with wit, affecting sentiment and nostalgia as well as, at times, fear and anger. In his work, Perry tackles subjects that are universally human: identity, gender, social status, sexuality, religion. Autobiographical references - to the artist's childhood, his family and his transvestism - can be read in tandem with questions about décor and decorum, class and taste, and the status of the artist versus that of the artisan. Perry uses the seductive qualities of ceramics and other art forms to make stealthy comments about society, its pleasures as well as its injustices and flaws, and to explore a variety of historical and contemporary themes. He works with traditional media such as ceramics, cast iron, bronze, printmaking and tapestry, and is interested in how each historic category of object accrues intellectual and emotional baggage over time.

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Grayson Perry is a great chronicler of contemporary life, drawing us in with wit, affecting sentiment and nostalgia as well as, at times, fear and anger. In his work, Perry...

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Hello

VALIE EXPORT speaking

That's all very interesting, very exciting

Maybe we do that again

Let's do it like this instead

My first selfie

This is the atelier of VALIE EXPORT.

Why EXPORT? VALIE was a nickname, and I export my own thoughts. I'm very happy I chose that name because I created my own identity. I was frustrated, but then feminism at that time allowed you to choose who you are.

I take photography as a female artist and as a human being, from my own point of view.

You have to go against some of the rules of the state that suppress people's liberties. So I started writing my name in capital letters, made myself a stamp and that stamp became my trademark. This became my brand.

The centre of my work is the body and moreover the female body. Also, I wanted to give some attributes back to the female body that were taken away.

I was married for a year and had a daughter. My daughter was raised by my sister. I left for Vienna in 1960 to go to art school. This was a big step for me because everyone at school quickly found out that I was divorced and already had a child. This was just unheard of back in those days. Eventually I got into the art scene and began working independently.

I'm going to show you the poster of Action Pants: Genital Panic. Wearing these pants with the crotch cut out, I walked through the rows of a cinema. It wasn't in a porn cinema like the legend has it. As if I would've walked with a machine gun into a porn cinema [laughs]. You've got to admit it was very punky.

Later on, I staged this and got a photographer and hung it up in the street of Vienna. They always immediately got ripped of the walls, but nobody knew who put them up there. From 1970 onwards, I suggested this work for exhibitions, but nobody wanted to show it.

I lived in this building, just up there, from about 1964 until 1978 in that far corner. This was a very famous building back in the day where a lot of artists lived. A lot of my works were produced here, a whole series of Body Configurations for example.

Here was the action. Just like this. I think it was here and in that corner. This nunnery gave me a lot of impulses and inspired me. I knew every stone in this yard because I lived her for such a long time

VALIE: Where did you live?

Man: I live on the 3rd floor up there looking over the park.

VALIE: Ah, you look over the park, nice view. Your face seemed familiar.

Man: I thought you had to be VALIE EXPORT.

Here I filmed at the Hotel Imperial. Treats, forbidden ones. I quite like the Austrian culture. The atmosphere in Vienna is quite beautiful in terms of architecture.

This is also a very interesting location where I did Body Configurations. These places were selected on purpose. Many of them were historical buildings

Restorer: As you see here...You know best yourself.

VALIE: Yes, it's damaged.

Restorer: It's damaged, there are many fingerprints and discolourations on the surface as you can see here also several areas of silverfish corrosion.

VALIE: Ah, interesting

Restorer: That's the reason why it's here at the Institute for Paper Restoration. Was this just normal gouache paint?

VALIE: Yes!

Restorer: Which was available back then?

VALIE: Just like the one children had in school.

Restorer: Often I use spit, it's a very good cleaner.

VALIE: I find it very interesting what you can still learn.

In 1968 Export created ' Tapp und Tastkino' and the part played by the audience was further emancipated in her work. Through her 'Tapp und Taskino' EXPORT developed a theory of feminist Actionism. The theory was a declaration concerning the image of women in our culture... through the coding of women's social role.

Even though it was called Tap and Touch cinema, the most important thing was the gaze. Everyone was staring at us trying to figure out exactly what was happening in this cinema that nobody could look into. It seemed obvious from the outside but only the two of us knew what was or wasn't going on inside.

In Austria and in Vienna strong feminist aspirations didn't really exist. I always thought women should have as much power as men. It's about power, the power to change things. I think the creative process comes from life itself.

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VALIE EXPORT: 'I Created my Own Identity' | Tate

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Artist interview with Austrian feminist artist VALIE EXPORT

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Rachel Maclean is an artist based in Glasgow, Scotland.

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See the exhibition and enjoy a light lunch with a drink in our Djanogly Café.

Our onsite chefs have taken the season's best ingredients to offer a soup, sourdough and salad dish along with a glass of sustainable house wine, beer or soft drink.

£33.50 for exhibition entry and light lunch

£32.50 for exhibition entry and light lunch for concessions (60+, Disabled, Job Seeker, Student)

Available daily. Your booking is your exhibition entry time, enjoy your light lunch any time from 11.00 until 16.00.

The light lunch option is also for available for Members and Supporters for £17.50. No need to book, simply head to the Djanogly Cafe after your exhibition visit.

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See the exhibition and enjoy a light lunch with a drink in our Djanogly Café. Our onsite chefs have taken the season's best ingredients to offer a soup, sourdough and salad dish along with a glass of sustainable house wine, beer or soft drink.

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One of Britain's leading contemporary artists, Whiteread uses industrial materials such as plaster, concrete, resin, rubber and metal to cast everyday objects and architectural space. Her evocative sculptures range from the intimate to the monumental.

Born in London in 1963, Whiteread was the first woman to win the Turner Prize in 1993. The same year she made House 1993-1994, a life-sized cast of the interior of a condemned terraced house in London's East End, which existed for a few months before it was controversially demolished.

This momentous show tracks Whiteread's career and brings together well-known works such as Untitled (100 Spaces) 1995 and Untitled (Stairs) 2001 alongside new pieces that have never been previously exhibited.

On the lawn outside Tate Britain a new concrete sculpture, Chicken Shed 2017, will sit during the exhibition.
This exhibition is co-organised by Tate and the National Gallery of Art, Washington.

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Tate Britain's exhibition Rachel Whiteread is on one of the Britain's leading contemporary artists and this exhibition, the most comprehensive to date, celebrates over 25 years of her internationally acclaimed sculpture

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1974 - 1978 "My initial encounter with photographic images outside of the Central African Republic was purely through pictures in magazines, brought by young American Peace Corps volunteers who came to the Central African Republic to visit Pygmies. I was especially excited by the images of the African Americans and their sense of style.

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A premier assemblagist who elevated the box to a major art form, Joseph Cornell also was an accomplished collagist and filmmaker, and one of America's most innovative artists. When his sister and brother-in-law, Mr. and Mrs. John A. Benton, donated a collection of his works and related documentary material in 1978, the NMAA [now the Smithsonian American Art Museum] established the Joseph Cornell Study Center.

Born on Christmas Eve, 1903, Joseph Cornell was raised in an affluent, closeknit family in Nyack, New York. He attended Phillips Academy in Andover, Massachusetts, as a science major between 1917 and 1921, but did not graduate. While working as a textile salesman in New York between 1921 and 1931, Cornell began exploring the city and its cultural resources, and converted to Christian Science, thereafter a major influence on his life and work. In 1929, his family moved to Flushing, New York, where he lived until his death on December 29, 1972.

His art has been described as romantic, poetic, lyrical and surrealistic. Self-taught but amazingly sophisticated, he created his first collages, box constructions and experimental films in the 1930s. By 1940, his boxes contained found materials artfully arranged, then collaged and painted to suggest poetic associations inspired by the arts, humanities and sciences.

He believed aesthetic theories were foreign to the origin of his art but said his works were based on everyday experiences, ​"the beauty of the commonplace." An insatiable collector, he acquired thousands of examples of printed and three-dimensional ephemera-searching the libraries, museums, theaters, book shops and antique fairs in New York and relying on his contacts across the United States and in Europe. With these objects, he created magical relationships by seamlessly combining disparate images.

Cornell was an imaginative and private man who, mingling fantasy and reality, produced works outstanding not only for their originality and craftsmanship but for their complexity and diversity.

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A premier assemblagist who elevated the box to a major art form, Joseph Cornell also was an accomplished collagist and filmmaker, and one of America's most innovative artists. When his sister and brother-in-law, Mr. and Mrs. John A.

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Martin Wong, Narcolepsy, 1986 oil on canvas. Courtesy of the Estate of Martin Wong and P·P·O·W, New York

Martin Wong, one of the most distinct documentarians of New York City, loved underdogs. In his art, he portrayed loud people hanging in dank stairwells, graffiti artists who worked in the dark, and men who lost, especially those who had lost big, with years of their lives in the state prison system. At a 1984 exhibition at New York's Semaphore Gallery, he displayed an artist statement scrawled on cardboard. In it, he wrote: "Taking down to street level this time, I wanted to focus in close on some of the endless layers of conflict that has us all bound together... Always locked in, always locked out, winners and losers all..."

In the years since, Wong's paintings have slowly gained greater recognition through shows like a 2015 retrospective at the Bronx Museum of Arts. They have been admired for their mix of the real and the fantastic, the religious and the erotic. In his raw yet romantic works, a lover's poetry fills the sky, and firemen embrace beneath a burning tenement. Only rarely within art history have urban spaces seemed as full with possibility as they do in Wong's canvases.

During the '80s, in an era when Neo-Expressionism was the dominant mode, the largely self-taught artist stood out in subject and style. He sported a long mustache and cowboy duds. He was an openly gay Asian-American man during a period when the city's Asian diaspora was treated as invisible. (Only 10 years prior, Chinese activists had realized the state census hadn't bothered to even count hundreds of immigrants living in downtown tenements.) He also made it so that pinning him down on the basis of any one identity was impossible. Wong wasn't deaf, but he used ASL. He hung out with Puerto Ricans, though he didn't speak Spanish. He often felt anxious, but he used parody to sublimate his insecurities. In some outsider circles, he was an insider.
The 'Eureka Years'
Wong was born in Portland, Oregon, in 1946, and grew up in San Francisco. His parents were Chinese American, but his father had Mexican heritage, so Wong labeled himself ethnically Chino-Latino. He graduated with a degree in ceramics from Humboldt State University and won a competitive ceramics exhibition at the de Young museum in San Francisco in 1970. But he abandoned the medium for painting after the museum barred him from the exhibition for using glitter in his entry. He later worked as a street portraitist under the moniker the "Human Instamatic."

Wong termed this nomadic, freewheeling era his "Eureka Years," the name a reference to the city of Eureka, California, as well as to the word for a burst of discovery or invention. From beatniks and bohemians, he observed sexual and creative liberation. At home, he absorbed art history, building expertise in subjects like Asian decorative objects and modern painting. He created posters and sets for the gay street performance troupe the Cockettes and joined their mystical offshoot, the Angels of Light. He traveled through Asia and Europe. He never returned to school-not, at least, in a conventional sense.
Hearts on Fire
In 1978 Wong traveled to New York and lived a cheap hotel room with a view of the crumbling South Street Seaport. By his account, he got free rent in exchange for working as a night porter. His bedroom there is the subject of a meticulous 1984 painting, My Secret World (1978-81), that recalls similar works by Vincent van Gogh and Edvard Munch. Wong's bedroom is tidy, its walls decorated with miniatures versions of three of his early paintings. One depicts a series of thick hands sprouting from white cuff links; in ASL, they spell out, "Physiatrist Testify: Demon dogs drive man to murder," a reference to the serial killer Son of Sam, who had stalked New York the prior summer. On the bookshelf is fiction by John Cheever and Raymond Chandler, as well as texts on astrology and sports.

Later, Wong moved to an apartment on Ridge Street the Lower East Side, supporting himself with a job in the gift shop of the Metropolitan Museum of Art uptown. He started showing his work downtown and got to know the local graffiti artists. By the end of his life, he had amassed a significant holding of street art. In 1994, he donated it to the Museum of the City of New York.

Wong also started hanging out with the poet Miguel Piñero, whom he met in 1982 at the underground art space ABC No Rio. Piñero, a cofounder of the legendary Nuyorican Poets Café and the author of the Pulitzer Prize-winning play Short Eyes, introduced Wong to the music, poetry, and art scene of the Lower East Side, known to the Puerto Rican community as Loisada. Wong fell in love with Piñero-and Loisada as seen through Piñero's eyes. They often collaborated, as they did with Attorney Street (Handball Court With Autobiographical Poem by Piñero), 1982-84.

In that painting, Wong offers a detailed vision of a graffiti mural done on a handball court wall. Floating in the grey sky is a handwritten poem by Piñero: " KNOCKED OUT LIGHTNING, DROWNED A DROP OF WATER, PUT HANDCUFF ON THE WIND, LOCK THUNDER IN JAIL, SLAPPED JESUS IN THE FACE AND RAN SATAN OUT OF HELL." Below, Wong responds in gesturing hands and verse with his own intentions: " IT'S THE REAL DEAL NEAL / I'M GONNA ROCK YOUR WORLD / MAKE YOUR PLANETS TWIRL, AIN'T NO WACK ATTACK."

Many of Wong's '80s works stress New York's verticality, causing tall building to appear to oppress or entrap the city's inhabitants. In Attorney Street, chainlink fences surround the handball court, and red-brick tenements loom like prison watchtowers. Big Heat (1988) blows up that landscape-literally. In Wong's painting, towering tenement apartments are set ablaze. The brick is scorched black, and the windows burns pink, yellow, and red. The heat of the flames is felt not only physically but also metaphorically: two firemen share kiss beneath the flames. Whether they've created the chaos or simply given in to it is left unclear.

Wong's firemen were often Black or Brown, and it is possible to read into these works an unsavory form of fetishization. (In 1988, he wrote, "I really like the way firemen smell when they get off work. It's like hickory smoked rubber and B.O.") His works from this era are at their best when desire, often confined to dreams, overtakes reality. Penitentiary Fox (1988), created the year Piñero died of liver disease, shows the entirety of Short Eyes appearing to the poet in his sleep. Piñero, dressed in white, hovers outside Sing Sing's gates, freed only in body.
Tourist Attractions
By the '90s, Loisaida was losing a battle against gentrification. Lovers, friends, and peers had died or were dying from AIDS or drug addiction. In response, Wong's work grew quiet, grimmer. In 1985 and 1986, he started making the "Last Picture Show" series, a group of life-size images of shuttered storefronts. In a 1996 interview with Yasmin Ramírez, who co-organized the 2015 Bronx Museum retrospective, Wong explained how he had purposefully waited to explore Chinatown in his paintings. He admitted to her feeling like a "tourist." Belonging was a point of anxiety for him, and that sense of apprehension comes through in his Chinatown series. In Chinese New Year's Parade (1992-94), eyes are everywhere, watching a young boy at its center. The dragon, the deities, and the crowd of Chinese New Yorker stare with gazes that accuse or question. His earthy palette was traded in for red and fluorescent blue hues.

As Wong himself began dying of AIDS during the mid-'90s, he returned to San Francisco. He made three paintings in 1998, the year before his death. In these black-and-white works, cacti from his mother's garden are reduced until they appear alien, and not a single human is present. The mood is somber and spiritual. It's the kind of work only a mystic peering inward could produce after a lifetime looking out.

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The Human Instamatic: Martin Wong's Visionary Paintings of New York Continue to Intrigue

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Martin Wong, one of the most distinct urban visionaries, painted the people and places of the Lower East Side.

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Who is Faith Ringgold?

Faith Ringgold, painter, writer, speaker, mixed media sculptor and performance artist lives and works in Englewood, New Jersey. Ms Ringgold is professor emeritus at the University of California, San Diego where she taught art from 1987 until 2002. Professor Ringgold is the recipient of more than 75 awards including 22 Honorary Doctor of Fine Arts Degrees.

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Faith Ringgold - If One Can Anyone Can All you Gotta Do Is Try

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Faith Ringgold, painter, writer, speaker, mixed media sculptor and performance artist lives and works in Englewood, New Jersey. Ms Ringgold is professor emeritus at the University of California, San Diego where she taught art from 1987 until 2002. Professor Ringgold is the recipient of more than 75 awards including 22 Honorary Doctor of Fine Arts Degrees.

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Theaster Gates (b.1973) currently lives and works in Chicago. He is renowned internationally for his interdisciplinary blend of social practice, performance, institution-building, painting, and sculpting. His practice, deeply rooted in African-American histories and culture, revolves around the transformation of objects, buildings and communities by catalyzing development through art and cultural activity.

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This large-scale exhibition will debut recent work and include selected highlights from Lubaina Himid 's influential career. Taking inspiration from her interest in theatre, the exhibition will unfold in a sequence of scenes designed to place visitors centre-stage and backstage.

Initially trained in theatre design, Himid is known for her innovative approaches to painting and to social engagement. She has been pivotal in the UK since the 1980s for her contributions to the British Black arts movement, making space for the expression and recognition of Black experience and women's creativity. Over the last decade, she has earned international recognition for her figurative paintings, which explore overlooked and invisible aspects of history and of contemporary everyday life. In 2017 she was awarded the Turner Prize and in 2018 she was bestowed with the honorary title of CBE for her contributions to the arts.
Exhibition organised by Tate Modern in collaboration with Musée cantonal des Beaux-Arts de Lausanne/Plateforme 10

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This large-scale exhibition will debut recent work and include selected highlights from Lubaina Himid 's influential career. Taking inspiration from her interest in theatre, the exhibition will unfold in a sequence of scenes designed to place visitors centre-stage and backstage. Initially trained in theatre design, Himid is known for her innovative approaches to painting and to social engagement.

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Wilson continued his exploration of glass with Speak of Me As I Am, his exhibition for the United States pavilion at the 2003 Venice Biennale. Much of this work developed from Wilson's observation that numerous Venetian history paintings contained black figures, though he had difficulty locating them in written histories. Wilson began a relationship with the Murano glass company, located on the Venetian island of the same name, and created chandeliers and mirrors in a traditional Venetian style embellished with black glass.

Fred Wilson's body of work encompasses sculpture, painting, photography, collage, printmaking, and installation. He is internationally lauded for his conceptual practice that subverts perception, revealing the undercurrents of historical discourse, ownership, and privilege normalized by institutional practices.

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Fred Wilson is renowned for his interdisciplinary practice that challenges assumptions of history, culture, race, and conventions of display.

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Gillian Wearing: Wearing Masks | The Guggenheim Museums and Foundation

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Gillian Wearing's photographs, videos, sculptures, and paintings probe the tensions between self and society in an increasingly media-saturated world.

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You Stole my Look 1997 is a portrait-orientated colour screenprint on white wove paper that features five cartoon-like drawings of the British artist Georgina Starr wearing different outfits set against a purple background. Written along the top of the work is the instruction 'Choose your very own Starvision Outfit', with five possible options spread across the composition in the style of a magazine advertisement. The drawings are of different sizes and depict Starr posing in a range of colourful outfits, from a black fur coat with accompanying scarf and hat to more summery fashions. Each of the drawings is numbered with detailed descriptions of the clothes worn and the price of the outfits (which range from £4,500 to £7,500) appearing in a vertical handwritten list on the left side of the work. Underneath the list in the bottom-left corner is a coupon for outfit orders to be sent to 'Starvision' in London. The title of the work is written in red in an exuberant style near the top of the work, which is signed by the artist on its reverse.

This printwas made in London in 1997. Starr drew the figures by hand, before scanning them into a computer and manipulating the images using the Photoshop editing programme. It was originally made for a mock advertisement that appears in Starvision, a comic book that the artist published in 1997, with the outfits depicted being those Starr wore while she created the comic. For the book's launch in Paris in 1997, Starr created a performance work, also titled You Stole my Look, in which five women dressed in the outfits appeared at the event as 'Georgina Starr' (the outfits are reproduced in Ikon Gallery 1998, p.94).

The somewhat uneven arrangement of images and texts in You Stole my Look, along with its handwritten labels and bright colours, recall teenage magazines or perhaps the homemade publications created by adolescents. In an interview with the curator Douglas Fogle in 1995, Starr explained her interest in exploring neglected, under-appreciated or forgotten cultural forms: 'To me, trivial things are just as meaningful as things that are supposed to be important' (quoted in Walker Art Center 1995, p.75).

In presenting self-portraits of the artist wearing different outfits, You Stole my Look can also be seen as exploring notions of identity and performance, while the title suggests the personal significance often attached to clothes. In 1997 the writer Susan Corrigan argued that Starr 'shows only fragments of her whole self in the art she makes, and seems to like things that way' (Susan Corrigan, 'Pop Genius', in Ikon Gallery 1998, p.29).

Born in Leeds in 1968, Starr studied in London at Middlesex Polytechnic (1987-9) and the Slade School of Art (1990-2), and at the Rijksakademie in Amsterdam (1993-4). Her practice has often involved creating multi-faceted series of works that involve a range of media and incorporate references to music, cinema and other forms of popular culture. For instance, between 1999 and 2003 she completed the Bunny Lake series, which consists of video installations, performances, drawings, photographs and paintings inspired by the films Bunny Lake is Missing (dir. Otto Preminger, 1965) and Targets (dir. Peter Bogdanovich, 1967).

You Stole my Look is part of Screen,a portfolio of eleven prints by London-based artists that was published in 1997 by Charles Booth-Clibborn under his imprint The Paragon Press. The works were all made between February and July 1997, and are presented together with a title page and colophon by the graphic designer Phil Baines in a black buckram-covered wooden case. The title of the portfolio refers to the technique of screenprinting and also alludes to the fact that many of the featured artists work with screen-based media. Each print exists in an edition of seventy-five, with the first forty-five produced in portfolio sets, of which the portfolio owned by Tate is number thirty-three.

Further reading
'Brilliant!': New Art from London, exhibition catalogue, Walker Art Center, Minneapolis 1995, pp.73-5.
Georgina Starr, exhibition catalogue, Ikon Gallery, Birmingham 1998, pp.92-4, reproduced p.77.
In Print: Contemporary British Art from the Paragon Press, exhibition catalogue, Cvijeta Zuzoric Art Pavilion, Belgrade, London 2001, p.22.

Richard Martin
November 2015

Supported by Christie's.
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'You Stole my Look', Georgina Starr, 1997 | Tate

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'You Stole my Look', Georgina Starr, 1997