Oswaldo Maciá
Something Going On Above My Head brings together over two thousand birdsongs from across the world, arranged like instruments in an orchestra
Oswaldo Maciá’s sound sculpture plays through sixteen speakers placed above our heads, like birds singing from the treetops. A diagram shows the orchestra layout. Instead of instruments, Maciá lists the Latin names of birds. The artist spent five years collecting birdcalls from audio archives and libraries. He then reworked them into a symphony. Maciá scored the birdsongs according to their pitch, grouped like the sections of an orchestra.
The artist’s inspiration for this work was a newspaper article, which made a passing reference to Russian submarines dumping nuclear residue in the Baltic Sea. We could easily miss such news among all the other stories in a paper. The work’s title alludes to the many daily events that go unnoticed. Similarly, we usually consider birdsongs a pleasant sound. Yet they are often calls of distress or defence.
Maciá challenges the definition of sculpture as a visual art form. His work often draws attention to overlooked histories and natural phenomena. Something Going On Above My Head highlights the amount of information surrounding us, and questions our ability to comprehend this indistinguishable background noise.
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
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artworks in Oswaldo Maciá
Jenny Holzer, THE BEAUTY WORSHIPPED 2017
This is one of a group of four benches in Tate’s collection by Jenny Holzer (see Tate AR01268–AR01271). They are made of Rosso Francia marble and the seat of each one is engraved with a line of text, which has been sandblasted into its highly polished surface. These texts are excerpts of poems by the Polish author Anna Świrszczyńska, who wrote about her experiences as a member of the Polish Resistance and volunteer nurse during the Second World War. The engravings are taken from the English translation of Building the Barricade (Budowałam Barykadȩ), her collection of 100 poems, first published in 1974 and translated into English in 2016, which describes Świrszczyńska’s memories of survival during the German occupation of Warsaw in 1944, offering a clear and at times brutal view of state violence and the atrocities of war. The text carved into THE BEAUTY WORSHIPPED reads ‘Beauty Dies’. Holzer’s use of marble memorialises the poet’s words and the enduring power of language, giving the lie to the idea that beauty and human cultural achievement are separable from civilisation’s darker, base actions. The lavish benches embody this paradox. They can be displayed individually, in pairs or as a group.
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artworks in Oswaldo Maciá
Ian Hamilton Finlay, Lead Us 1968
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Ian Hamilton Finlay, Plaint of the Barge Sails 1975–6
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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:
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artworks in Oswaldo Maciá
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
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artworks in Oswaldo Maciá
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
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artworks in Oswaldo Maciá
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
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artworks in Oswaldo Maciá
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
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artworks in Oswaldo Maciá
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.
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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.
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artworks in Oswaldo Maciá
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.
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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.
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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.
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artworks in Oswaldo Maciá
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.
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artworks in Oswaldo Maciá
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.
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artworks in Oswaldo Maciá
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.
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artworks in Oswaldo Maciá
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.
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artworks in Oswaldo Maciá
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.
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artworks in Oswaldo Maciá
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.
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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.
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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.
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artworks in Oswaldo Maciá
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.
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artworks in Oswaldo Maciá
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.
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artworks in Oswaldo Maciá
Jenny Holzer, THEY’RE BREATHING 2017
This is one of a group of four benches in Tate’s collection by Jenny Holzer (see Tate AR01268–AR01271). They are made of Rosso Francia marble and the seat of each one is engraved with a line of text, which has been sandblasted into its highly polished surface. These texts are excerpts of poems by the Polish author Anna Świrszczyńska, who wrote about her experiences as a member of the Polish Resistance and volunteer nurse during the Second World War. The engravings are taken from the English translation of Building the Barricade (Budowałam Barykadȩ), her collection of 100 poems, first published in 1974 and translated into English in 2016, which describes Świrszczyńska’s memories of survival during the German occupation of Warsaw in 1944, offering a clear and at times brutal view of state violence and the atrocities of war. The text carved into THEY’RE BREATHING reads ‘Air Raid’. Holzer’s use of marble memorialises the poet’s words and the enduring power of language, giving the lie to the idea that beauty and human cultural achievement are separable from civilisation’s darker, base actions. The lavish benches embody this paradox. They can be displayed individually, in pairs or as a group.
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artworks in Oswaldo Maciá
Jenny Holzer, I PLACED MY FEET 2017
This is one of a group of four benches in Tate’s collection by Jenny Holzer (see Tate AR01268–AR01271). They are made of Rosso Francia marble and the seat of each one is engraved with a line of text, which has been sandblasted into its highly polished surface. These texts are excerpts of poems by the Polish author Anna Świrszczyńska, who wrote about her experiences as a member of the Polish Resistance and volunteer nurse during the Second World War. The engravings are taken from the English translation of Building the Barricade (Budowałam Barykadȩ), her collection of 100 poems, first published in 1974 and translated into English in 2016, which describes Świrszczyńska’s memories of survival during the German occupation of Warsaw in 1944, offering a clear and at times brutal view of state violence and the atrocities of war. The text carved into I PLACED MY FEET reads ‘A Hospital’. Holzer’s use of marble memorialises the poet’s words and the enduring power of language, giving the lie to the idea that beauty and human cultural achievement are separable from civilisation’s darker, base actions. The lavish benches embody this paradox. They can be displayed individually, in pairs or as a group.
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artworks in Oswaldo Maciá
Jenny Holzer, YOU ENEMY 2017
This is one of a group of four benches in Tate’s collection by Jenny Holzer (see Tate AR01268–AR01271). They are made of Rosso Francia marble and the seat of each one is engraved with a line of text, which has been sandblasted into its highly polished surface. These texts are excerpts of poems by the Polish author Anna Świrszczyńska, who wrote about her experiences as a member of the Polish Resistance and volunteer nurse during the Second World War. The engravings are taken from the English translation of Building the Barricade (Budowałam Barykadȩ), her collection of 100 poems, first published in 1974 and translated into English in 2016, which describes Świrszczyńska’s memories of survival during the German occupation of Warsaw in 1944, offering a clear and at times brutal view of state violence and the atrocities of war. The text carved into YOU ENEMY reads ‘A Soldier Says’. Holzer’s use of marble memorialises the poet’s words and the enduring power of language, giving the lie to the idea that beauty and human cultural achievement are separable from civilisation’s darker, base actions. The lavish benches embody this paradox. They can be displayed individually, in pairs or as a group.
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artworks in Oswaldo Maciá
Ian Hamilton Finlay, IDYLLS END IN THUNDERSTORMS 1986
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artworks in Oswaldo Maciá
Lawrence Weiner, TIED UP IN KNOTS 1988
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artworks in Oswaldo Maciá
Lawrence Weiner, TUCKED IN AT THE CORNERS 1988
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artworks in Oswaldo Maciá
Art in this room
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