BP Spotlight: Keith Arnatt: Sausages and Food
Tate Britain: Display
11 March 6 October 2013
Part of the series BP Spotlights
1 of 5
  • Keith Arnatt, 'Self-Burial (Television Interference Project)' 1969

    Keith Arnatt
    Self-Burial (Television Interference Project) 1969
    Photographs on board
    image: 467 x 467 mm frame: 474 x 473 mm
    Presented by Westdeutsches Fernsehen 1973 The estate of Keith Arnatt

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  • Keith Arnatt, 'Pictures from a Rubbish Tip' 1988-9

    Keith Arnatt
    Pictures from a Rubbish Tip 1988-9
    C-type print on paper
    support: 506 x 608 mm
    Presented by the artist's estate 2009 The estate of Keith Arnatt

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  • Keith Arnatt, 'Walking the Dog' 1976-9

    Keith Arnatt
    Walking the Dog 1976-9
    Gelatin silver print on paper
    unconfirmed: 390 x 305 mm
    Presented by Tate Patrons 2010 The estate of Keith Arnatt

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  • Keith Arnatt, 'A.O.N.B. (Area of Outstanding Natural Beauty)' 1982-4

    Keith Arnatt
    A.O.N.B. (Area of Outstanding Natural Beauty) 1982-4
    Gelatin silver print on paper
    support: 275 x 357 mm
    Purchased 2010 The estate of Keith Arnatt

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  • Keith Arnatt, 'Miss Grace's Lane' 1986-7

    Keith Arnatt
    Miss Grace's Lane 1986-7
    C-type print on paper
    support: 254 x 202 mm
    Presented by the artist's estate 2009 The estate of Keith Arnatt

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In the late 1960s, the pioneering British conceptual artist Keith Arnatt used photography as a way of documenting performative acts that question – often through a linking of an image with philosophical text – the status of art and the role and identity of the artist. Photographs and text are used to record acts that, by questioning the condition of the art object, focus on the shift between pretence and reality, or between hiding something and actual disappearance.

In the 1970s and 1980s Arnatt redefined his approach to photography, first through portraiture and then the genre of landscape. Using the camera to produce rather than document art, these later works are characterised by Arnatt’s engaged scrutiny and observation of the subject. He applies art historical reference, a precise rendering of the ordinary, an openness to humour and an exacting attention to compositional detail, whether to a landscape or somebody self-consciously posing for a portrait. Although Arnatt came to be recognised more as a photographer than a conceptual artist, he made clear that being a photographer can never be separated from the practice of being an artist – an exercise as meaningless as making a distinction or opposition between sausages and food.

This display has been devised by curator Andrew Wilson.

View the artworks in this display