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Showing 61-80 of 1132 results

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  1. Article
    Sandra Zalman

    Gordon Matta-Clark was part of a loose but close-knit coalition of artists and dancers whose work and lives coalesced around the large lofts left...

  2. Article
    Sandra Zalman

    From 21 October until 10 November 1972, Walls Paper (Tate T14658; fig.1) was featured in a solo show of Gordon Matta-Clark’s latest work at the...

  3. Article
    Sandra Zalman

    First displayed in a partially dilapidated artist-run space in New York, Walls Paper’s photo-silkscreens of cracking, crumbling urban walls...

  4. Article

    We are grateful to Sandra Zalman for her development of this project, and to Philip Ursprung for his invaluable contribution to the research.Sandra...

  5. Article
    Alex Taylor

    How should we understand the title of James Rosenquist’s Silo 1963–4 (Tate T01829)? A silo, as the artist has explained in relation to the work,...

  6. Article
    Alex Taylor

    James Rosenquist was not the first American artist to make use of the T-zone graphic from Camel cigarette advertising, as he did in Silo 1963–4 ...

  7. Article
    Thomas Morgan-Evans

    At the centre of James Rosenquist’s Silo 1963–4 (Tate T01829; fig.1) is the T-zone. This three-dimensional structure is a wood-framed T-shape on a...

  8. Article
    James Rosenquist, Rachel Barker, Tom Learner

    In February 2006 Tate conservation staff Rachel Barker and Tom Learner interviewed James Rosenquist at his New York studio.[fn]Rachel Barker and...

  9. Article

    First broadcast on CBS Television’s ‘Eye on New York’ series on 17 March 1964, these edited clips were drawn from Art for Whose Sake?, a...

  10. Article
    Alex Taylor

    Silo 1963–4 (Tate T01829; fig.1) is an oil painting on canvas reproducing enlarged fragments from printed advertisements, a characteristic...

  11. Article
    Alex Taylor

    This In Focus presents Rosenquist’s Silo as a reflection on the image of the female consumer in the 1950s and 1960s, casting its...

  12. Article

    We are grateful to Alex Taylor for his development of this project, and to Thomas Morgan Evans for his valuable contribution to the research. This...

  13. Article
    Kirsten Swenson

    Simultaneous with the early exhibitions of Jennifer Bartlett’s plate pieces in 1972 at Reese Palley and in 1973 and 1974 at the Paula Cooper...

  14. Article
    Kirsten Swenson

    Painting was up for radical revision by the mid-1960s. The traditional distinction between painting and sculpture seemed irrelevant to artists...

  15. Article
    Kirsten Swenson

    Jennifer Bartlett’s time at the Yale School of Art from 1963 to 1965 gave her a close awareness of the ideas and strategies of major trends in...

  16. Article
    Mary L. Garner

    In Surface Substitution on 36 Plates 1972 (Tate T06637), Jennifer Bartlett experiments playfully with a sequence of numbers, visualising the growth...

  17. Article

    We are grateful to Kirsten Swenson for her development of this project, and to Mary L. Garner for her valuable contribution to the research. Thanks...

  18. Article
    Kirsten Swenson

    Jennifer Bartlett’s Surface Substitution on 36 Plates 1972 (Tate T06637; fig.1) comprises thirty-six one-foot (30 cm) square steel plates. The...

  19. Article
    Kirsten Swenson

    This In Focus presents the first in-depth study of this key work of conceptual art from the 1970s, examining Bartlett’s preoccupation with...

  20. Article
    Rod Mengham

    Steve McQueen’s Static 2009 (Tate T13425) circles around more than just the Statue of Liberty, which is one of the most familiar icons of all time,...

Showing 61-80 of 1132 results

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