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Painting as a Document: Paint Club at Tate Britain # 2
See Tate Event listing
Read about the speakers and their choices from the Tate collection
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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)
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The Speakers, their work and their choices
from Tate Britain's new displays
Clare
Woods
The Bloody Kernel 2011
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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
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Barry Schwabsky
Words for Art 2013 Sternberg Press
Berlin
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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
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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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