Oswaldo Maciá

Ian Hamilton Finlay, Lead Us  1968

Ian Hamilton Finlay, Plaint of the Barge Sails  1975–6

Lawrence Weiner, GROUND DOWN (&) JUST ON THE OTHER SIDE  1990

Lawrence Weiner is one of the chief protagonists in the development of conceptual art. In the 1960s he was a key figure in expanding the definition of a work of art. Along with his contemporaries including Joseph Kosuth (born 1945; see Clock (One and Five), English/Latin Version, 1965, Tate T01909) and Douglas Huebler (1924-1997; see Variable Piece No. 44, 1971, Tate P07234), Weiner challenged the notion that an artwork had to consist of a definite physical object, contending instead that it could comprise a concept or idea with which the viewer would be invited to engage. Weiner’s practice focuses on this interaction between artwork and viewer or, in his terminology, the ‘receiver’ of the work of art. The principles underlying his art were outlined in a ‘statement of intent’ that Weiner first published in 1969:

Lawrence Weiner, ATTACHED TO (&) JUST ON THE OTHER SIDE  1990

Lawrence Weiner is one of the chief protagonists in the development of conceptual art. In the 1960s he was a key figure in expanding the definition of a work of art. Along with his contemporaries including Joseph Kosuth (born 1945; see Clock (One and Five), English/Latin Version, 1965, Tate T01909) and Douglas Huebler (1924-1997; see Variable Piece No. 44, 1971, Tate P07234), Weiner challenged the notion that an artwork had to consist of a definite physical object, contending instead that it could comprise a concept or idea with which the viewer would be invited to engage. Weiner’s practice focuses on this interaction between artwork and viewer or, in his terminology, the ‘receiver’ of the work of art. The principles underlying his art were outlined in a ‘statement of intent’ that Weiner first published in 1969:

Lawrence Weiner, CROSSED OUT (&) JUST ON THE OTHER SIDE  1990

Lawrence Weiner is one of the chief protagonists in the development of conceptual art. In the 1960s he was a key figure in expanding the definition of a work of art. Along with his contemporaries including Joseph Kosuth (born 1945; see Clock (One and Five), English/Latin Version, 1965, Tate T01909) and Douglas Huebler (1924-1997; see Variable Piece No. 44, 1971, Tate P07234), Weiner challenged the notion that an artwork had to consist of a definite physical object, contending instead that it could comprise a concept or idea with which the viewer would be invited to engage. Weiner’s practice focuses on this interaction between artwork and viewer or, in his terminology, the ‘receiver’ of the work of art. The principles underlying his art were outlined in a ‘statement of intent’ that Weiner first published in 1969:

Ian Hamilton Finlay, Starlit Waters  1967

Guerrilla Girls, You’re Seeing Less Than Half The Picture  1989

The Guerrilla Girls are an anonymous group of activist artists who highlight sexism and racism in the art world. They formed in 1985 in New York City, USA. Shortly after, their posters appeared overnight in the streets of the New York art district of SoHo. The group’s targets included artists, gallery owners, and museums. Over the years their focus has widened to include other areas of inequality. The Guerrilla Girls wear gorilla masks in public and use pseudonyms. They continue to expose discrimination and to produce new provocative posters. Their work now includes books, videos and workshops in schools, colleges and art institutions.

Gallery label, August 2021

Guerrilla Girls, Guerrilla Girls’ Code Of Ethics For Art Museums  1990

The Guerrilla Girls are an anonymous group of activist artists who highlight sexism and racism in the art world. They formed in 1985 in New York City, USA. Shortly after, their posters appeared overnight in the streets of the New York art district of SoHo. The group’s targets included artists, gallery owners, and museums. Over the years their focus has widened to include other areas of inequality. The Guerrilla Girls wear gorilla masks in public and use pseudonyms. They continue to expose discrimination and to produce new provocative posters. Their work now includes books, videos and workshops in schools, colleges and art institutions.

Gallery label, August 2021

Guerrilla Girls, The Advantages Of Being A Woman Artist  1988

The Guerrilla Girls are an anonymous group of activist artists who highlight sexism and racism in the art world. They formed in 1985 in New York City, USA. Shortly after, their posters appeared overnight in the streets of the New York art district of SoHo. The group’s targets included artists, gallery owners, and museums. Over the years their focus has widened to include other areas of inequality. The Guerrilla Girls wear gorilla masks in public and use pseudonyms. They continue to expose discrimination and to produce new provocative posters. Their work now includes books, videos and workshops in schools, colleges and art institutions.

Gallery label, August 2021

Guerrilla Girls, Guerrilla Girls Review The Whitney  1987

The Guerrilla Girls are an anonymous group of activist artists who highlight sexism and racism in the art world. They formed in 1985 in New York City, USA. Shortly after, their posters appeared overnight in the streets of the New York art district of SoHo. The group’s targets included artists, gallery owners, and museums. Over the years their focus has widened to include other areas of inequality. The Guerrilla Girls wear gorilla masks in public and use pseudonyms. They continue to expose discrimination and to produce new provocative posters. Their work now includes books, videos and workshops in schools, colleges and art institutions.

Gallery label, August 2021

Guerrilla Girls, Dearest Art Collector  1986

This is one of thirty posters published in a portfolio entitled Guerrilla Girls Talk Back by the group of anonymous American female artists who call themselves the Guerrilla Girls. Tate’s copy is number twelve in the edition of fifty.

Guerrilla Girls, Women In America Earn Only 2/3 Of What Men Do  1985

Formed in 1985, the Guerrilla Girls are an anonymous activist group who highlight discrimination in the art world. Their targets include museums, dealers, curators and art critics. They fly-posted their first posters overnight in the fashionable New York art district of SoHo, and have also displayed their work as advertisements on city buses. Over the years their attacks on sexism have widened to other areas of social, racial and gender-based inequality. The Guerrilla Girls wear gorilla masks for public appearances and use the names of famous deceased artists and writers as pseudonyms.

Gallery label, February 2016

Guerrilla Girls, Guerrilla Girls’ Pop Quiz  1990

Formed in 1985, the Guerrilla Girls are an anonymous activist group who highlight discrimination in the art world. Their targets include museums, dealers, curators and art critics. They fly-posted their first posters overnight in the fashionable New York art district of SoHo, and have also displayed their work as advertisements on city buses. Over the years their attacks on sexism have widened to other areas of social, racial and gender-based inequality. The Guerrilla Girls wear gorilla masks for public appearances and use the names of famous deceased artists and writers as pseudonyms.

Gallery label, February 2016

Guerrilla Girls, Guerrilla Girls’ Definition Of Hypocrite  1990

The Guerrilla Girls are an anonymous group of activist artists who highlight sexism and racism in the art world. They formed in 1985 in New York City, USA. Shortly after, their posters appeared overnight in the streets of the New York art district of SoHo. The group’s targets included artists, gallery owners, and museums. Over the years their focus has widened to include other areas of inequality. The Guerrilla Girls wear gorilla masks in public and use pseudonyms. They continue to expose discrimination and to produce new provocative posters. Their work now includes books, videos and workshops in schools, colleges and art institutions.

Gallery label, August 2021

Guerrilla Girls, Missing in Action  1991

Guerrilla Girls Portfolio Compleat Update 1991–2012 is a portfolio of works produced between 1991 and 2012 by the anonymous collective of American female artists known as the Guerilla Girls. It contains fifty-four poster projects of variable dimensions – twenty-six black and white offset lithographs on paper and twenty-eight colour digital prints on paper – alongside a printed plastic bag, three sheets of stickers and two issues of the newsletter Hot Flashes from 1994 (vol.1, nos.2 and 3, and vol.1, no.4). The portfolio also includes three books produced between 1998 and 2012 – The Guerrilla Girls’ Bedside Companion to the History of Western Art, Bitches Bimbos and Ballbreakers: The Guerrilla Girls’ Illustrated Guide to Female Stereotypes and The Guerrilla Girls’ Art Museum Activity Book – as well as their most recent text, The Hysterical Herstory of Hysteria and How It Was Cured, in digital form on compact disc in advance of publication. Two of the black and white prints are accompanied by postcards addressed to Thomas Krens and Margit Rowell – former director of the Solomon R. Guggenheim Museum, New York and chief curator at the Museum of Modern Art, New York respectively – that the public were encouraged to fill in and post as a sign of support for the Guerrilla Girls project. This version of the portfolio has been uniquely compiled for Tate to complement its existing holdings (Guerrilla Girls Talk Back [Tate P78788–P78817], a portfolio of thirty posters produced between 1985 and 1990), and each work is an artists’ proof aside from the edition of fifty.

Guerrilla Girls, What’s the Difference between a POW and a Homeless Person?  1991

Guerrilla Girls Portfolio Compleat Update 1991–2012 is a portfolio of works produced between 1991 and 2012 by the anonymous collective of American female artists known as the Guerilla Girls. It contains fifty-four poster projects of variable dimensions – twenty-six black and white offset lithographs on paper and twenty-eight colour digital prints on paper – alongside a printed plastic bag, three sheets of stickers and two issues of the newsletter Hot Flashes from 1994 (vol.1, nos.2 and 3, and vol.1, no.4). The portfolio also includes three books produced between 1998 and 2012 – The Guerrilla Girls’ Bedside Companion to the History of Western Art, Bitches Bimbos and Ballbreakers: The Guerrilla Girls’ Illustrated Guide to Female Stereotypes and The Guerrilla Girls’ Art Museum Activity Book – as well as their most recent text, The Hysterical Herstory of Hysteria and How It Was Cured, in digital form on compact disc in advance of publication. Two of the black and white prints are accompanied by postcards addressed to Thomas Krens and Margit Rowell – former director of the Solomon R. Guggenheim Museum, New York and chief curator at the Museum of Modern Art, New York respectively – that the public were encouraged to fill in and post as a sign of support for the Guerrilla Girls project. This version of the portfolio has been uniquely compiled for Tate to complement its existing holdings (Guerrilla Girls Talk Back [Tate P78788–P78817], a portfolio of thirty posters produced between 1985 and 1990), and each work is an artists’ proof aside from the edition of fifty.

Guerrilla Girls, Republicans Do Believe in a Woman’s Right to Control her own Body  1992

Guerrilla Girls Portfolio Compleat Update 1991–2012 is a portfolio of works produced between 1991 and 2012 by the anonymous collective of American female artists known as the Guerilla Girls. It contains fifty-four poster projects of variable dimensions – twenty-six black and white offset lithographs on paper and twenty-eight colour digital prints on paper – alongside a printed plastic bag, three sheets of stickers and two issues of the newsletter Hot Flashes from 1994 (vol.1, nos.2 and 3, and vol.1, no.4). The portfolio also includes three books produced between 1998 and 2012 – The Guerrilla Girls’ Bedside Companion to the History of Western Art, Bitches Bimbos and Ballbreakers: The Guerrilla Girls’ Illustrated Guide to Female Stereotypes and The Guerrilla Girls’ Art Museum Activity Book – as well as their most recent text, The Hysterical Herstory of Hysteria and How It Was Cured, in digital form on compact disc in advance of publication. Two of the black and white prints are accompanied by postcards addressed to Thomas Krens and Margit Rowell – former director of the Solomon R. Guggenheim Museum, New York and chief curator at the Museum of Modern Art, New York respectively – that the public were encouraged to fill in and post as a sign of support for the Guerrilla Girls project. This version of the portfolio has been uniquely compiled for Tate to complement its existing holdings (Guerrilla Girls Talk Back [Tate P78788–P78817], a portfolio of thirty posters produced between 1985 and 1990), and each work is an artists’ proof aside from the edition of fifty.

Guerrilla Girls, How Long Did It Take to Loot South Central L.A.?  1992

Guerrilla Girls Portfolio Compleat Update 1991–2012 is a portfolio of works produced between 1991 and 2012 by the anonymous collective of American female artists known as the Guerilla Girls. It contains fifty-four poster projects of variable dimensions – twenty-six black and white offset lithographs on paper and twenty-eight colour digital prints on paper – alongside a printed plastic bag, three sheets of stickers and two issues of the newsletter Hot Flashes from 1994 (vol.1, nos.2 and 3, and vol.1, no.4). The portfolio also includes three books produced between 1998 and 2012 – The Guerrilla Girls’ Bedside Companion to the History of Western Art, Bitches Bimbos and Ballbreakers: The Guerrilla Girls’ Illustrated Guide to Female Stereotypes and The Guerrilla Girls’ Art Museum Activity Book – as well as their most recent text, The Hysterical Herstory of Hysteria and How It Was Cured, in digital form on compact disc in advance of publication. Two of the black and white prints are accompanied by postcards addressed to Thomas Krens and Margit Rowell – former director of the Solomon R. Guggenheim Museum, New York and chief curator at the Museum of Modern Art, New York respectively – that the public were encouraged to fill in and post as a sign of support for the Guerrilla Girls project. This version of the portfolio has been uniquely compiled for Tate to complement its existing holdings (Guerrilla Girls Talk Back [Tate P78788–P78817], a portfolio of thirty posters produced between 1985 and 1990), and each work is an artists’ proof aside from the edition of fifty.

Guerrilla Girls, Top Ten Signs That You’re an Art World Token  1995

Guerrilla Girls Portfolio Compleat Update 1991–2012 is a portfolio of works produced between 1991 and 2012 by the anonymous collective of American female artists known as the Guerilla Girls. It contains fifty-four poster projects of variable dimensions – twenty-six black and white offset lithographs on paper and twenty-eight colour digital prints on paper – alongside a printed plastic bag, three sheets of stickers and two issues of the newsletter Hot Flashes from 1994 (vol.1, nos.2 and 3, and vol.1, no.4). The portfolio also includes three books produced between 1998 and 2012 – The Guerrilla Girls’ Bedside Companion to the History of Western Art, Bitches Bimbos and Ballbreakers: The Guerrilla Girls’ Illustrated Guide to Female Stereotypes and The Guerrilla Girls’ Art Museum Activity Book – as well as their most recent text, The Hysterical Herstory of Hysteria and How It Was Cured, in digital form on compact disc in advance of publication. Two of the black and white prints are accompanied by postcards addressed to Thomas Krens and Margit Rowell – former director of the Solomon R. Guggenheim Museum, New York and chief curator at the Museum of Modern Art, New York respectively – that the public were encouraged to fill in and post as a sign of support for the Guerrilla Girls project. This version of the portfolio has been uniquely compiled for Tate to complement its existing holdings (Guerrilla Girls Talk Back [Tate P78788–P78817], a portfolio of thirty posters produced between 1985 and 1990), and each work is an artists’ proof aside from the edition of fifty.

Guerrilla Girls, Battle of the Sexes  1996

Guerrilla Girls Portfolio Compleat Update 1991–2012 is a portfolio of works produced between 1991 and 2012 by the anonymous collective of American female artists known as the Guerilla Girls. It contains fifty-four poster projects of variable dimensions – twenty-six black and white offset lithographs on paper and twenty-eight colour digital prints on paper – alongside a printed plastic bag, three sheets of stickers and two issues of the newsletter Hot Flashes from 1994 (vol.1, nos.2 and 3, and vol.1, no.4). The portfolio also includes three books produced between 1998 and 2012 – The Guerrilla Girls’ Bedside Companion to the History of Western Art, Bitches Bimbos and Ballbreakers: The Guerrilla Girls’ Illustrated Guide to Female Stereotypes and The Guerrilla Girls’ Art Museum Activity Book – as well as their most recent text, The Hysterical Herstory of Hysteria and How It Was Cured, in digital form on compact disc in advance of publication. Two of the black and white prints are accompanied by postcards addressed to Thomas Krens and Margit Rowell – former director of the Solomon R. Guggenheim Museum, New York and chief curator at the Museum of Modern Art, New York respectively – that the public were encouraged to fill in and post as a sign of support for the Guerrilla Girls project. This version of the portfolio has been uniquely compiled for Tate to complement its existing holdings (Guerrilla Girls Talk Back [Tate P78788–P78817], a portfolio of thirty posters produced between 1985 and 1990), and each work is an artists’ proof aside from the edition of fifty.

Guerrilla Girls, 3 White Women, 1 Woman of Color and No Men of Color out of 71 Artists?  1997

Guerrilla Girls Portfolio Compleat Update 1991–2012 is a portfolio of works produced between 1991 and 2012 by the anonymous collective of American female artists known as the Guerilla Girls. It contains fifty-four poster projects of variable dimensions – twenty-six black and white offset lithographs on paper and twenty-eight colour digital prints on paper – alongside a printed plastic bag, three sheets of stickers and two issues of the newsletter Hot Flashes from 1994 (vol.1, nos.2 and 3, and vol.1, no.4). The portfolio also includes three books produced between 1998 and 2012 – The Guerrilla Girls’ Bedside Companion to the History of Western Art, Bitches Bimbos and Ballbreakers: The Guerrilla Girls’ Illustrated Guide to Female Stereotypes and The Guerrilla Girls’ Art Museum Activity Book – as well as their most recent text, The Hysterical Herstory of Hysteria and How It Was Cured, in digital form on compact disc in advance of publication. Two of the black and white prints are accompanied by postcards addressed to Thomas Krens and Margit Rowell – former director of the Solomon R. Guggenheim Museum, New York and chief curator at the Museum of Modern Art, New York respectively – that the public were encouraged to fill in and post as a sign of support for the Guerrilla Girls project. This version of the portfolio has been uniquely compiled for Tate to complement its existing holdings (Guerrilla Girls Talk Back [Tate P78788–P78817], a portfolio of thirty posters produced between 1985 and 1990), and each work is an artists’ proof aside from the edition of fifty.

Guerrilla Girls, As Good As It Gets?  1998

Guerrilla Girls Portfolio Compleat Update 1991–2012 is a portfolio of works produced between 1991 and 2012 by the anonymous collective of American female artists known as the Guerilla Girls. It contains fifty-four poster projects of variable dimensions – twenty-six black and white offset lithographs on paper and twenty-eight colour digital prints on paper – alongside a printed plastic bag, three sheets of stickers and two issues of the newsletter Hot Flashes from 1994 (vol.1, nos.2 and 3, and vol.1, no.4). The portfolio also includes three books produced between 1998 and 2012 – The Guerrilla Girls’ Bedside Companion to the History of Western Art, Bitches Bimbos and Ballbreakers: The Guerrilla Girls’ Illustrated Guide to Female Stereotypes and The Guerrilla Girls’ Art Museum Activity Book – as well as their most recent text, The Hysterical Herstory of Hysteria and How It Was Cured, in digital form on compact disc in advance of publication. Two of the black and white prints are accompanied by postcards addressed to Thomas Krens and Margit Rowell – former director of the Solomon R. Guggenheim Museum, New York and chief curator at the Museum of Modern Art, New York respectively – that the public were encouraged to fill in and post as a sign of support for the Guerrilla Girls project. This version of the portfolio has been uniquely compiled for Tate to complement its existing holdings (Guerrilla Girls Talk Back [Tate P78788–P78817], a portfolio of thirty posters produced between 1985 and 1990), and each work is an artists’ proof aside from the edition of fifty.

Guerrilla Girls, Sundance Stickers  2001

Guerrilla Girls Portfolio Compleat Update 1991–2012 is a portfolio of works produced between 1991 and 2012 by the anonymous collective of American female artists known as the Guerilla Girls. It contains fifty-four poster projects of variable dimensions – twenty-six black and white offset lithographs on paper and twenty-eight colour digital prints on paper – alongside a printed plastic bag, three sheets of stickers and two issues of the newsletter Hot Flashes from 1994 (vol.1, nos.2 and 3, and vol.1, no.4). The portfolio also includes three books produced between 1998 and 2012 – The Guerrilla Girls’ Bedside Companion to the History of Western Art, Bitches Bimbos and Ballbreakers: The Guerrilla Girls’ Illustrated Guide to Female Stereotypes and The Guerrilla Girls’ Art Museum Activity Book – as well as their most recent text, The Hysterical Herstory of Hysteria and How It Was Cured, in digital form on compact disc in advance of publication. Two of the black and white prints are accompanied by postcards addressed to Thomas Krens and Margit Rowell – former director of the Solomon R. Guggenheim Museum, New York and chief curator at the Museum of Modern Art, New York respectively – that the public were encouraged to fill in and post as a sign of support for the Guerrilla Girls project. This version of the portfolio has been uniquely compiled for Tate to complement its existing holdings (Guerrilla Girls Talk Back [Tate P78788–P78817], a portfolio of thirty posters produced between 1985 and 1990), and each work is an artists’ proof aside from the edition of fifty.

Guerrilla Girls, Birth of Feminism Movie Poster  2001

Guerrilla Girls Portfolio Compleat Update 1991–2012 is a portfolio of works produced between 1991 and 2012 by the anonymous collective of American female artists known as the Guerilla Girls. It contains fifty-four poster projects of variable dimensions – twenty-six black and white offset lithographs on paper and twenty-eight colour digital prints on paper – alongside a printed plastic bag, three sheets of stickers and two issues of the newsletter Hot Flashes from 1994 (vol.1, nos.2 and 3, and vol.1, no.4). The portfolio also includes three books produced between 1998 and 2012 – The Guerrilla Girls’ Bedside Companion to the History of Western Art, Bitches Bimbos and Ballbreakers: The Guerrilla Girls’ Illustrated Guide to Female Stereotypes and The Guerrilla Girls’ Art Museum Activity Book – as well as their most recent text, The Hysterical Herstory of Hysteria and How It Was Cured, in digital form on compact disc in advance of publication. Two of the black and white prints are accompanied by postcards addressed to Thomas Krens and Margit Rowell – former director of the Solomon R. Guggenheim Museum, New York and chief curator at the Museum of Modern Art, New York respectively – that the public were encouraged to fill in and post as a sign of support for the Guerrilla Girls project. This version of the portfolio has been uniquely compiled for Tate to complement its existing holdings (Guerrilla Girls Talk Back [Tate P78788–P78817], a portfolio of thirty posters produced between 1985 and 1990), and each work is an artists’ proof aside from the edition of fifty.

Guerrilla Girls, Benvenutti Alla Biennale Femminista!  2005

Guerrilla Girls Portfolio Compleat Update 1991–2012 is a portfolio of works produced between 1991 and 2012 by the anonymous collective of American female artists known as the Guerilla Girls. It contains fifty-four poster projects of variable dimensions – twenty-six black and white offset lithographs on paper and twenty-eight colour digital prints on paper – alongside a printed plastic bag, three sheets of stickers and two issues of the newsletter Hot Flashes from 1994 (vol.1, nos.2 and 3, and vol.1, no.4). The portfolio also includes three books produced between 1998 and 2012 – The Guerrilla Girls’ Bedside Companion to the History of Western Art, Bitches Bimbos and Ballbreakers: The Guerrilla Girls’ Illustrated Guide to Female Stereotypes and The Guerrilla Girls’ Art Museum Activity Book – as well as their most recent text, The Hysterical Herstory of Hysteria and How It Was Cured, in digital form on compact disc in advance of publication. Two of the black and white prints are accompanied by postcards addressed to Thomas Krens and Margit Rowell – former director of the Solomon R. Guggenheim Museum, New York and chief curator at the Museum of Modern Art, New York respectively – that the public were encouraged to fill in and post as a sign of support for the Guerrilla Girls project. This version of the portfolio has been uniquely compiled for Tate to complement its existing holdings (Guerrilla Girls Talk Back [Tate P78788–P78817], a portfolio of thirty posters produced between 1985 and 1990), and each work is an artists’ proof aside from the edition of fifty.

Guerrilla Girls, Where are the Women Artists of Venice?  2005

Guerrilla Girls Portfolio Compleat Update 1991–2012 is a portfolio of works produced between 1991 and 2012 by the anonymous collective of American female artists known as the Guerilla Girls. It contains fifty-four poster projects of variable dimensions – twenty-six black and white offset lithographs on paper and twenty-eight colour digital prints on paper – alongside a printed plastic bag, three sheets of stickers and two issues of the newsletter Hot Flashes from 1994 (vol.1, nos.2 and 3, and vol.1, no.4). The portfolio also includes three books produced between 1998 and 2012 – The Guerrilla Girls’ Bedside Companion to the History of Western Art, Bitches Bimbos and Ballbreakers: The Guerrilla Girls’ Illustrated Guide to Female Stereotypes and The Guerrilla Girls’ Art Museum Activity Book – as well as their most recent text, The Hysterical Herstory of Hysteria and How It Was Cured, in digital form on compact disc in advance of publication. Two of the black and white prints are accompanied by postcards addressed to Thomas Krens and Margit Rowell – former director of the Solomon R. Guggenheim Museum, New York and chief curator at the Museum of Modern Art, New York respectively – that the public were encouraged to fill in and post as a sign of support for the Guerrilla Girls project. This version of the portfolio has been uniquely compiled for Tate to complement its existing holdings (Guerrilla Girls Talk Back [Tate P78788–P78817], a portfolio of thirty posters produced between 1985 and 1990), and each work is an artists’ proof aside from the edition of fifty.

Guerrilla Girls, The Future for Turkish Women Artists  2006

Guerrilla Girls Portfolio Compleat Update 1991–2012 is a portfolio of works produced between 1991 and 2012 by the anonymous collective of American female artists known as the Guerilla Girls. It contains fifty-four poster projects of variable dimensions – twenty-six black and white offset lithographs on paper and twenty-eight colour digital prints on paper – alongside a printed plastic bag, three sheets of stickers and two issues of the newsletter Hot Flashes from 1994 (vol.1, nos.2 and 3, and vol.1, no.4). The portfolio also includes three books produced between 1998 and 2012 – The Guerrilla Girls’ Bedside Companion to the History of Western Art, Bitches Bimbos and Ballbreakers: The Guerrilla Girls’ Illustrated Guide to Female Stereotypes and The Guerrilla Girls’ Art Museum Activity Book – as well as their most recent text, The Hysterical Herstory of Hysteria and How It Was Cured, in digital form on compact disc in advance of publication. Two of the black and white prints are accompanied by postcards addressed to Thomas Krens and Margit Rowell – former director of the Solomon R. Guggenheim Museum, New York and chief curator at the Museum of Modern Art, New York respectively – that the public were encouraged to fill in and post as a sign of support for the Guerrilla Girls project. This version of the portfolio has been uniquely compiled for Tate to complement its existing holdings (Guerrilla Girls Talk Back [Tate P78788–P78817], a portfolio of thirty posters produced between 1985 and 1990), and each work is an artists’ proof aside from the edition of fifty.

Guerrilla Girls, Horror on the National Mall!  2007

Guerrilla Girls Portfolio Compleat Update 1991–2012 is a portfolio of works produced between 1991 and 2012 by the anonymous collective of American female artists known as the Guerilla Girls. It contains fifty-four poster projects of variable dimensions – twenty-six black and white offset lithographs on paper and twenty-eight colour digital prints on paper – alongside a printed plastic bag, three sheets of stickers and two issues of the newsletter Hot Flashes from 1994 (vol.1, nos.2 and 3, and vol.1, no.4). The portfolio also includes three books produced between 1998 and 2012 – The Guerrilla Girls’ Bedside Companion to the History of Western Art, Bitches Bimbos and Ballbreakers: The Guerrilla Girls’ Illustrated Guide to Female Stereotypes and The Guerrilla Girls’ Art Museum Activity Book – as well as their most recent text, The Hysterical Herstory of Hysteria and How It Was Cured, in digital form on compact disc in advance of publication. Two of the black and white prints are accompanied by postcards addressed to Thomas Krens and Margit Rowell – former director of the Solomon R. Guggenheim Museum, New York and chief curator at the Museum of Modern Art, New York respectively – that the public were encouraged to fill in and post as a sign of support for the Guerrilla Girls project. This version of the portfolio has been uniquely compiled for Tate to complement its existing holdings (Guerrilla Girls Talk Back [Tate P78788–P78817], a portfolio of thirty posters produced between 1985 and 1990), and each work is an artists’ proof aside from the edition of fifty.

Guerrilla Girls, Museums Cave to Radical Feminists  2008

Guerrilla Girls Portfolio Compleat Update 1991–2012 is a portfolio of works produced between 1991 and 2012 by the anonymous collective of American female artists known as the Guerilla Girls. It contains fifty-four poster projects of variable dimensions – twenty-six black and white offset lithographs on paper and twenty-eight colour digital prints on paper – alongside a printed plastic bag, three sheets of stickers and two issues of the newsletter Hot Flashes from 1994 (vol.1, nos.2 and 3, and vol.1, no.4). The portfolio also includes three books produced between 1998 and 2012 – The Guerrilla Girls’ Bedside Companion to the History of Western Art, Bitches Bimbos and Ballbreakers: The Guerrilla Girls’ Illustrated Guide to Female Stereotypes and The Guerrilla Girls’ Art Museum Activity Book – as well as their most recent text, The Hysterical Herstory of Hysteria and How It Was Cured, in digital form on compact disc in advance of publication. Two of the black and white prints are accompanied by postcards addressed to Thomas Krens and Margit Rowell – former director of the Solomon R. Guggenheim Museum, New York and chief curator at the Museum of Modern Art, New York respectively – that the public were encouraged to fill in and post as a sign of support for the Guerrilla Girls project. This version of the portfolio has been uniquely compiled for Tate to complement its existing holdings (Guerrilla Girls Talk Back [Tate P78788–P78817], a portfolio of thirty posters produced between 1985 and 1990), and each work is an artists’ proof aside from the edition of fifty.

Ian Hamilton Finlay, Port-Distinguishing Letters of Scottish Fishing Vessels [collaboration with George L Thomson]  1976