Hamish Fulton

A Condor

1972

Artist
Hamish Fulton born 1946
Medium
3 photographs, gelatin silver prints on paper, transfer lettering on card
Dimensions
565 x 819mm unconfirmed
Collection
Tate
Acquisition
Purchased 1973
Reference
T01762

Not on display

Display caption

This work evokes the experience of a walk in Bolivia that Hamish Fulton shared with Richard Long in 1972. The photographs denote time (a setting sun or shadow line) and movement (the walk itself). The right-hand and centre photographs were taken at the same point on Illampu mountain. The shadow line is made up of reeds taken from Lake Titicaca, and pelican feathers. They were left there in the snow.

The title refers to the bird that circled overhead during the journey. Fulton has said about works such as this: ‘What I build is an experience, not a sculpture’.

Gallery label, February 2010

Catalogue entry

Hamish Fulton b.1946

T01762 A Condor 1972

Inscribed ‘Hamish Fulton 1973’t.r. on outside of backing-board.
Photographs and Letraset on card, 22¼ x 32¼ (56.5 x 82).
Purchased from the artist through Situation (Grant-in-Aid) 1973.
Exh: Situation, June-July 1973 (unnumbered, no catalogue); Henry Moore to Gilbert and George, Palais des Beaux-Arts, Brussels, September–November1973 (123, repr.).

The following note on this work was prepared by Hamish Fulton in March 1974.

‘In the autumn of 1972 I visited Peru, Bolivia and Chile with Richard Long.

‘All three photographs were taken in Bolivia.

‘The photograph on the left shows a sunset at Lake Titicaca. The view is from the Copacabana Peninsula.

‘The center photograph was taken at about 20,000 feet on Illampu in the Cordillera Real just east of the lake which can be seen in the distance. The walk up Illampu started from the Altiplano at about 12,500 feet. The direction of this photograph is by chance the same as the sunset view.

‘The photograph on the right side was taken at the same point on the mountain as the center view. It shows a shadow line of four reeds from the lakeside, and four pelican feathers. The totora reed has a spongy center and is used to make very buoyant boats by the Uru and Aymara Indians. The feathers were collected while journeying down the Peruvian coast. All were left where they were placed in the snow.

‘The title comes from the bird that circled round us up on the mountain.’

Published in The Tate Gallery Report 1972–1974, London 1975.