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Painting as a Document: Paint Club at Tate Britain # 2

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Read about the speakers and their choices from the Tate collection

                    as Document poster

Painting as a Document: Friday April 25th 2014

1pm - 2.30 pm Clore Auditorium, Tate Britain.
What is lost or gained when we view a painting as a complex document, rather like any other kind of historical or anthropological source? Does this form of analysis, however finely tuned, actually ignore some other, more essential form of experience that a painting offers us, something inextricably bound up with our humanity, and with the painting’s physical status as an object in the world?

This was the second of two Paint Club events at Tate Britain. An artist and a writer discussed their relationship with particular paintings on display at Tate Britain, during an interactive lunchtime event.

Watch of the whole event here (click on the video title to open it in new larger window)

The Speakers, their work and their choices from Tate Britain's new displays

the bloody Kernel by Clare Woods
Clare Woods
The Bloody Kernel 2011

Woods at

Clare Woods held exhibitions of her work at the Hepworth Wakefield and the Southampton City Art Gallery in 2012, as well as completing a large mosaic project for the Olympic site. Her past paintings have been derived from photographs of undergrowth and vegetation, taken at night, transforming elements of landscape, rock formations, natural pools and twisted vegetation into images which are ambiguous and claustrophobic.

Francis Bacon is an artist that has always been in my general art-historical psyche but at whom I had never really looked in depth until relatively recently. I approached his work primarily looking at colour: I wanted to use pink and orange in a large scale work of mine and found myself looking at his use of these colours. This was my re-introduction to his work.

The main appeal of Bacon's 'Study for a Portrait' (1952), for me, is the cage over the figure's head. It is the role of this motif that I find intriguing in relationship to the three-dimensional use of a cage, environment or plinth in sculpture: as, for example, in the work of Giacometti.

Click here to see her choice from Tate Britain's displays

                  Words for Art
Barry Schwabsky Words for Art  2013 Sternberg Press Berlin

Barry Schwabsky
New York-based Barry Schwabsky is chief art critic of The Nation and co-editor of international reviews for Artforum. He has been writing about art, and painting in particular, for thirty years, as well as publishing several books of his poetry. His publications include The Widening Circle: Consequences of Modernism in Contemporary Art and Vitamin P: New Perspectives in Painting. His most recent book, Words for Art was published in 2013 by Sternberg Press, Berlin.

Click here to see his choice from Tate Britain's displays

The event was chaired by Donal Moloney and Alison Goodyear, artists and PhD candidates at Chelsea College of Arts, University of the Arts London.

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