flickr-free-ic3d pan white
View allAll Photos Tagged rachel+whiteread

(pintura hecha a partir del trabajo "Ghost" de Rachel Whiteread)

    

acrílico sobre madera mdf

92x60, 2012.

 

(expo Sensación, Galería Local, octubre 2012).

Rachel Whiteread: Long Eyes at Luhring Augustine

The Philbrook Museum of Art in Tulsa, Oklahoma is an art museum housed in part in a 1920’s villa, situated on 23 acres of formal and informal gardens. The original structure is the former home of Oklahoma oil pioneer Waite Phillips and his wife Genevieve (Elliott) Phillips. As of 2007, the museum has a staff of 60 and an operating budget of nearly $6 million.[1]

The museum opened October 25, 1939. It was known as the Philbrook Art Center until 1987, when the name was changed to Philbrook Museum of Art.[2] The collection housed at the Philbrook Museum of Art includes works from Giovanni Bellini, William-Adolphe Bouguereau, William Merritt Chase, Leonardo Drew, Arturo Herrera, Charles Loloma, Maria Martinez, Thomas Moran, Fritz Scholder, Tanzio da Varallo, Rachel Whiteread, and Andrew Wyeth.

The museum serves an average of 149,000 visitors annually.[citation needed

Rachel Whiteread: Long Eyes at Luhring Augustine

Started by John Nash in the 1820s for George IV, the present layout of Trafalgar Square was designed by Sir Charles Barry and completed in 1845. Barry's scheme included several sculptures, including statues of Major General Sir Henry Havelock and General Sir Charles James Napier at the southern corners, an equestrian statue of George IV in the north-eastern corner and, on a correspondingly equestrian-sized plinth at the north-western corner... nothing: though the plinths were installed in 1841, funds ran out before the fourth statue, of William IV, could be added.

 

The plinth remained empty for 157 years before it was finally agreed that Something Should Be Done, even if only temporarily: in 1998 the Royal Society of Arts launched the Fourth Plinth Project, a series of three monumental works from contemporary artists, each exhibited for a year: 'Ecce Homo' (Mark Wallinger, 1999), 'Regardless of History' (Bill Woodrow, 2000) and 'Monument' (Rachel Whiteread, 2001).

 

The Fourth Plinth Commission, charged by the new Mayor of London to determine the plinth's future use, judged the Project a definite success and in turn commissioned an open-ended series of further temporary works (a Commission commissioned to commission – splendid). This began, after a gap of a mere four years, with 'Alison Lapper Pregnant' (Marc Quinn, 2005–07), then 'Model for a Hotel/Hotel for the Birds' (Thomas Schütte, 2007–08), 'One and Other' (Antony Gormley, 2009), 'Nelson’s Ship in a Bottle' (Yinka Shonibare, 2010–12), 'Powerless Structures Fig. 101' (Michael Elmgreen & Ingar Dragset, 2012–13) and, from 25 July 2013, 'Hahn/Cock', by Katharina Fritsch.

 

Initially criticised as insufficiently patriotic – a blue cockerel is the unofficial emblem of France, England's traditional rival and loser to Lord Nelson at the Battle of, er, Trafalgar – the 4¾ m fibreglass statue of a farmyard cockerel in a intense Klein blue, gloriously enlivening the generally grey Square, supposedly evokes "regeneration, awakening and strength". The double entendre in the name (in both German and English) was a deliberate reaction to the military masculinity of the Square's other statuary, not least Nelson's Column, ~80 m away on the right.

 

Though a further two commissions have recently been announced for 2015 and 2016, the ultimate plan is still no more than a rumour: that the plinth may be being reserved for a posthumous equestrian statue of Elizabeth II.

 

[Image reached no.107 in Flickr Explore on 09/04/14! Thanks!]

The Philbrook Museum of Art in Tulsa, Oklahoma is an art museum housed in part in a 1920’s villa, situated on 23 acres of formal and informal gardens. The original structure is the former home of Oklahoma oil pioneer Waite Phillips and his wife Genevieve (Elliott) Phillips. As of 2007, the museum has a staff of 60 and an operating budget of nearly $6 million. The museum opened October 25, 1939. It was known as the Philbrook Art Center until 1987, when the name was changed to Philbrook Museum of Art. The collection housed at the Philbrook Museum of Art includes works from Giovanni Bellini, William-Adolphe Bouguereau, William Merritt Chase, Leonardo Drew, Arturo Herrera, Charles Loloma, Maria Martinez, Thomas Moran, Fritz Scholder, Tanzio da Varallo, Rachel Whiteread, and Andrew Wyeth.The museum serves an average of 149,000 visitors annually.

Rachel Whiteread: Long Eyes at Luhring Augustine

Das Mahnmal für die österreichischen jüdischen Opfer der Schoah steht am Judenplatz im ersten Bezirk von Wien. Es ist das zentrale Mahnmal für die österreichischen Opfer der Schoah, und wurde von der britischen Künstlerin Rachel Whiteread entworfen.

 

The Judenplatz Holocaust Memorial also known as the Nameless Library stands in Judenplatz in the first district of Vienna. It is the central memorial for the Austrian victims of the Holocaust and was designed by the British artist Rachel Whiteread.

en.wikipedia.org/wiki/Trafalgar_Square

 

Trafalgar Square is a square in central London, England. With its position in the heart of London, it is a tourist attraction; and one of the most famous squares in the United Kingdom and the world. At its centre is Nelson's Column, which is guarded by four lion statues at its base. Statues and sculptures are on display in the square, including a fourth plinth displaying changing pieces of contemporary art, and it is a site of political demonstrations.

The name commemorates the Battle of Trafalgar (1805), a British naval victory of the Napoleonic Wars. The original name was to have been "King William the Fourth's Square", but George Ledwell Taylor suggested the name "Trafalgar Square".

The northern area of the square had been the site of the King's Mews since the time of Edward I, while the southern end was the original Charing Cross, where the Strand from the City met Whitehall, coming north from Westminster. As the midpoint between these twin cities, Charing Cross is to this day considered the heart of London, from which all distances are measured.

In the 1820s the Prince Regent engaged the landscape architect John Nash to redevelop the area. Nash cleared the square as part of his Charing Cross Improvement Scheme. The present architecture of the square is due to Sir Charles Barry and was completed in 1845.

Trafalgar Square ranks as the fourth most popular tourist attraction on earth with more than 15 million annual visitors.

The square consists of a large central area surrounded by roadways on three sides, and stairs leading to the National Gallery on the other. The roads which cross the square form part of the A4 road, and prior to 2003, the square was surrounded by a one-way traffic system. Underpasses attached to Charing Cross tube station allow pedestrians to avoid traffic. Recent works have reduced the width of the roads and closed the northern side of the square to traffic.

Nelson's Column is in the centre of the square, surrounded by fountains designed by Sir Edwin Lutyens in 1939 (replacing two earlier fountains of Peterhead granite, now at the Wascana Centre and Confederation Park in Canada) and four huge bronze lions sculpted by Sir Edwin Landseer; the metal used is said to have been recycled from the cannon of the French fleet. The column is topped by a statue of Horatio Nelson, the admiral who commanded the British Fleet at Trafalgar.

The fountains are memorials to Lord Jellicoe (western side) and Lord Beatty (eastern side), Jellicoe being the Senior Officer.[1]

On the north side of the square is the National Gallery and to its east St Martin-in-the-Fields church. The square adjoins The Mall via Admiralty Arch to the southwest. To the south is Whitehall, to the east Strand and South Africa House, to the north Charing Cross Road and on the west side Canada House.

At the corners of the square are four plinths; the two northern ones were intended for equestrian statues, and thus are wider than the two southern. Three of them hold statues: George IV (northeast, 1840s), Henry Havelock (southeast, 1861, by William Behnes), and Sir Charles James Napier (southwest, 1855). Former Mayor of London Ken Livingstone controversially expressed a desire to see the two generals replaced with statues "ordinary Londoners would know".[2]

On the lawn in front of the National Gallery are two statues, James II to the west of the entrance portico and George Washington to the east. The latter statue, a gift from the state of Virginia, stands on soil imported from the United States. This was done in order to honour Washington's declaration he would never again set foot on British soil.[3]

In 1888 the statue of General Charles George Gordon was erected. In 1943 the statue was removed and, in 1953, re-sited on the Victoria Embankment. A bust of the Second World War First Sea Lord Admiral Cunningham by Franta Belsky was unveiled in Trafalgar Square on 2 April 1967 by Prince Philip, Duke of Edinburgh.[4]

The square has become a social and political location for visitors and Londoners alike, developing over its history from "an esplanade peopled with figures of national heroes, into the country’s foremost place politique", as historian Rodney Mace has written. Its symbolic importance was demonstrated in 1940 when the Nazi SS developed secret plans to transfer Nelson's Column to Berlin following an expected German invasion, as related by Norman Longmate in If Britain Had Fallen (1972).

Fourth plinth

The fourth plinth on the northwest corner, designed by Sir Charles Barry and built in 1841,[5] was intended to hold an equestrian statue of William IV, but remained empty due to insufficient funds.[6] Later, agreement could not be reached over which monarch or military hero to place there.

In 1999, the Royal Society of Arts (RSA) conceived the Fourth Plinth Project, which temporarily occupied the plinth with a succession of works commissioned from three contemporary artists. These were:

•Mark Wallinger: Ecce Homo (1999) – Wallinger's Ecce Homo – the Latin title of which means "Behold the man", a reference to the words of Pontius Pilate at the trial of Jesus Christ (John 19:5) – was a life-sized figure of Christ, naked apart from a loin cloth, with his hands bound behind his back and wearing a crown of barbed wire (in allusion to the crown of thorns). Atop the huge plinth, designed for larger-than-life statuary, it looked minuscule. Some commentators said that, far from making the Man look insignificant, his apparent tininess drew the eye powerfully; they interpreted it as a commentary on human delusions of grandeur.[citation needed][7]

•Bill Woodrow: Regardless of History (2000)[8]

•Rachel Whiteread: Monument (2001) – Whiteread's Monument, by an artist already notable for her controversial Turner Prize-winning work House and the Judenplatz Holocaust Memorial in Vienna, was a cast of the plinth in transparent resin placed upside-down on top of the original.[9]

Companies have used the plinth (often without permission) as a platform for publicity stunts, including a model of David Beckham by Madame Tussauds during the 2002 FIFA World Cup.[5] The London-based American harmonica player Larry Adler jokingly suggested erecting a statue of Moby-Dick, which would then be called the "Plinth of Whales".[10] A television ident for the British TV station Channel 4 shows a CGI Channel 4 logo on top of the fourth plinth.[11]

The best use of the fourth plinth remains the subject of debate. On 24 March 2003 an appeal was launched by Wendy Woods, the widow of the anti-apartheid journalist Donald Woods, hoping to raise £400,000 to pay for a nine-foot high statue of Nelson Mandela by Ian Walters.[12] The relevance of the location is that South Africa House, the South African high commission, scene of many anti-apartheid demonstrations, is on the east side of Trafalgar Square.

A committee convened to consider the RSA's late-1990s project concluded that it had been a success and "unanimously recommended that the plinth should continue to be used for an ongoing series of temporary works of art commissioned from leading national and international artists".[13] After several years in which the plinth stood empty, the new Greater London Authority assumed responsibility for the fourth plinth and started its own series of changing exhibitions:

•Marc Quinn: Alison Lapper Pregnant (unveiled 15 September 2005) – a 3.6-metre, 13-tonne[5] marble torso-bust of Alison Lapper, an artist who was born with no arms and shortened legs due to a condition called phocomelia.[14]

•Thomas Schütte: Model for a Hotel 2007 (formerly Hotel for the Birds) (unveiled 7 November 2007) – a 5-metre by 4.5-metre by 5-metre architectural model of a 21-storey building made from coloured glass. The work cost £270,000 and was funded primarily by the Mayor of London and the Arts Council of England. Sandy Nairne, director of the National Portrait Gallery and chairman of the Fourth Plinth Commissioning Group that recommended Quinn's and Schütte's proposals to the Mayor in 2004, said: "There will be something extraordinarily sensual about the play of light through the coloured glass ... [I]t's going to feel like a sculpture of brilliance and light."[5][15]

•Antony Gormley: One & Other (6 July – 14 October 2009) – for a hundred consecutive days, 2,400 selected members of the public will each spend one hour on the plinth. They are allowed to do anything they wish to and are able to take anything with them, provided they can carry it unaided. Volunteers for the Fourth Plinth were invited to apply through the website www.oneandother.co.uk, and were chosen so that ethnic minorities and people from all parts of Britain were represented. For safety reasons, the plinth is surrounded by a net, and a team of six stewards is present 24 hours a day to make sure that, for instance, participants are not harmed by hecklers. There is a live feed of the plinth on the Internet sponsored by TV channel Sky Arts.[16][17] Gormley has said: "In the context of Trafalgar Square with its military, valedictory and male historical statues, this elevation of everyday life to the position formerly occupied by monumental art allows us to reflect on the diversity, vulnerability and particularity of the individual in contemporary society. It's about people coming together to do something extraordinary and unpredictable. It could be tragic but it could also be funny."[17]

In February 2008, Terry Smith, the chief executive of trading house Tullett Prebon, offered to pay more than £100,000 for a permanent statue acceptable to "ordinary Londoners" of Air Chief Marshal Sir Keith Rodney Park in recognition of his work as commander of No. 11 Group RAF during the Battle of Britain, as it was this Group that was responsible for the defence of London. A Greater London Authority spokesman said: "There are many worthy suggestions for statues on the fourth plinth and some people feel passionately about each of them. All proposals will be judged on their merits including its current use as one of the most high profile sites for contemporary public art in London. The cost of erecting the current work on the plinth is £270,000. The cost of a permanent monument is likely to be considerably more."[18] Subsequently, it was announced in May 2009 that in autumn that year a 5-metre high fibreglass statue of Sir Keith would be placed on the fourth plinth for six months, with a 2.78-metre bronze statue permanently installed in Waterloo Place.[19]

Fountains

When the square was first built in 1845, the fountains' primary purpose was not aesthetics, but rather to reduce the open space available and the risk of riotous assembly. They were originally fed by a steam engine behind the National Gallery from an artesian well underground. However, the engine were generally considered to be underpowered, so in the late 1930s the decision was made to replace them with stone basins and a new pump. At a cost of almost £50,000, the fountains were replaced with a design by Sir Edwin Lutyens and the old fountains were sold to donors and became gifts to Canada, eventually installed in Ottawa and Regina, where they are still in use today.[20][21] The Lutyens design is now listed Grade II.

Further restoration work became necessary and was completed by May 2009. The pump system was replaced as only one of three pumps was functioning. The new pump is capable of sending an 80-foot (24.4 m) jet of water into the air.[22] A new LED lighting system was also installed during this restoration to reduce the cost of lighting maintenance as the old incandscent bulbs cost £1,000 to replace and were failing regularly. The new lighting has been designed with the London 2012 Summer Olympics in mind and for the first time will project many different combinations of colours on to the fountains.[20] In addition, the new lighting system has a much lower energy requirement and will reduce the carbon footprint of the lighting by around 90%.[22]

Pigeons

The square used to be famous for its feral pigeons, and feeding them was a popular activity with Londoners and tourists. The National Portrait Gallery displays a 1948 photograph of Elizabeth Taylor posing there with bird seed so as to be mobbed by birds. The desirability of the birds' presence has long been contentious: their droppings look ugly on buildings and damage the stonework, and the flock, estimated at its peak to be 35,000, was considered to be a health hazard. In 1996, police arrested one man who was estimated to have trapped 1,500 birds for sale to a middleman; it is assumed that the birds ended up in the human food chain.[citation needed]

In 2000, the sale of bird seed in the square was controversially terminated and other measures were introduced to discourage the pigeons, including the use of trained falcons. Supporters of the birds – including Save the Trafalgar Square Pigeons – as well as some tourists continued to feed the birds, but in 2003 the then Mayor of London Ken Livingstone enacted byelaws to ban the feeding of pigeons within the square.[23] Due to frequent circumvention of these byelaws, on 10 September 2007 further byelaws were passed by the Westminster City Council to ban the feeding of birds on the square's pedestrianised North Terrace, the entire perimeter of the square, the area around St Martin-in-the-Fields Church, the space directly in front of the National Gallery, Canada House, South Africa House and parts of The Mall, Charing Cross Road and The Strand.[24] There are now few birds in Trafalgar Square and it is used for festivals and hired out to film companies in a way that was not feasible in the 1990s.

Redevelopment

In 2003 the redevelopment of the north side of the square was completed. The work involved permanently closing the main eastbound road there – diverting it around the rest of the square and demolishing part of the wall and building a wide set of stairs. This construction includes two Saxon scissor lifts for disabled access, public toilets, and a small café. Plans for a large staircase had long been discussed, even in original plans for the square. The new stairs lead to a large terrace or piazza in front of the National Gallery, in what was previously a road. Previously access between the square and the Gallery was via two busy crossings at the north east and north west corners of the square. The pedestrianisation plan was carried out in the face of protests from both road-users and pedestrians concerned that the diversion of traffic would lead to greater congestion elsewhere in London. However, this does not seem to have happened;[citation needed] the reduction in traffic due to the London congestion charge may be a factor.

New Year events

For many years, revellers celebrating the start of a New Year have gathered on the square, despite a lack of civic celebrations being arranged for them. The lack of official events in the square was partly because the authorities were concerned that actively encouraging more partygoers would cause overcrowding.

Since 2005, a firework display centred on London Eye and the South Bank of the Thames near the Square has given spectators a fitting start to the New Year.

VE Day celebrations

Victory in Europe Day (VE Day) was 8 May 1945, the date when the Allies during the Second World War formally celebrated the defeat of Nazi Germany and the end of Adolf Hitler's Third Reich. Trafalgar Square was filled with British subjects wanting to hear the formal announcement by Sir Winston Churchill that the war was over. Trafalgar Square was also used as a place of celebration by people travelling there from all over the country. On 8 May 2005 the BBC held a concert hosted by Eamonn Holmes and Natasha Kaplinsky to celebrate the 60th anniversary of VE Day.

Christmas ceremony

There has been a Christmas ceremony at Trafalgar Square every year since 1947. A Norway Spruce (or sometimes a fir) is given by Norway's capital Oslo and presented as London's Christmas tree, as a token of gratitude for Britain's support during World War II. (Besides the general war support, Norway's Prince Olav, as well as the country's government, lived in exile in London throughout the war.) As part of the tradition, the Lord Mayor of Westminster visits Oslo in the late autumn to take part in the felling of the tree, and the Mayor of Oslo then comes to London to light the tree at the Christmas ceremony.[25]

Political demonstrations

Since its construction, Trafalgar Square has been a venue for political demonstrations, though the authorities have often attempted to ban them. The 1939 fountains were allegedly[who?] added on their current scale to reduce the possibility of crowds gathering in the square as they were not in the original plans.

By March of the year Nelson's column opened, the authorities had started banning Chartist meetings in the square. A general ban on political rallies remained in effect until the 1880s, when the emerging Labour movement, particularly the Social Democratic Federation, began holding protests there.

On "Black Monday" (8 February 1886), protesters rallied against unemployment; this led to a riot in Pall Mall. A larger riot (called "Bloody Sunday") occurred in the square on 13 November 1887.

One of the first significant demonstrations of the modern era was held in the square on 19 September 1961 by the Committee of 100, which included the philosopher Bertrand Russell. The protesters rallied for peace and against war and nuclear weapons.

Throughout the 1980s, a continuous anti-apartheid protest was held outside South Africa House. More recently, the square has hosted the Poll Tax Riots (1990) and anti-war demonstrations opposing the Afghanistan war and the Iraq war.[26]

The square was also scene to a large vigil held shortly after the terrorist bombings in London on Thursday, 7 July 2005.[27]

Sports events

On 21 June 2002, 12,000 people gathered in the square to watch the England national football team's World Cup quarter-final against Brazil on giant video screens which had been erected specially for the occasion.[28]

In the early 21st century, Trafalgar Square has become the location to the climax for victory parades. It was used by the England national rugby union team on 9 December 2003 to celebrate its victory in the 2003 Rugby World Cup, and then on 13 September 2005 for the England national cricket team's victory against the Australia national cricket team in The Ashes.

On 6 July 2005 Trafalgar Square was a gathering place to hear the announcement that London had won the bid to host the 2012 Summer Olympics.

In 2007, Trafalgar Square hosted the opening ceremonies of the Tour de France.

Other uses

This painting (c. 1865) by an unknown artist is southwards across Trafalgar Square, with the towers of the Houses of Parliament on the skyline

Trafalgar Square is popularly used in films to suggest a generic London location (as an alternative to Big Ben) or less frequently, Britain in general. It featured prominently in films and television during the Swinging London era of the late 1960s, including The Avengers, Casino Royale, Doctor Who, The Ipcress File and Man in a Suitcase.

Trafalgar Square was used for portions of two sketches from the BBC comedy series Monty Python's Flying Circus. In a continuation of the sketch Collecting Birdwatchers' Eggs, several people in tan trenchcoats wander around the square mocking the famous pigeons. The sketch Olympic Hide and Seek also starts here. This sketch features Graham Chapman as British contestant Don Roberts and Terry Jones as Francisco Huron, his competitor from Paraguay in a contest that ends in a tie after more than 11 years. Chapman catches a taxi near the base of Lord Nelson's Column at the beginning of the sketch. Trafalgar Square also appears in cartoon form in several of Terry Gilliam's animations.

Trafalgar Square is also featured in the comic version of V for Vendetta as the location that the V's meet the army and defeat them, without a single fired shot due to sheer numbers (and the work of the Original V).

The square was also the location of the successful "World's Largest Coconut Orchestra" world record attempt on 23 April 2007. The record was set on St George's Day, and was followed by a screening of Monty Python and the Holy Grail. The world record attempt was linked with the use of coconuts during the film as well as the stage show Spamalot.

In May 2007, the square was grassed over with 2,000 square metres of turf for two days as part of a campaign by London authorities to promote "green spaces" in the city.[29]

In July 2007, the square held a parade and concert for the 60th independence of Pakistan from Great Britain. The event included many legendary sports and celebrity performances and many exhibitions of Pakistan's heritage and culture. It was recorded to be the biggest gathering of expat Pakistanis in the whole of Europe. It was televised live with Geo TV, a private Pakistani television and the High Commission of Pakistan.

Every year on the anniversary of the Battle of Trafalgar (21 October), the Sea Cadet Corps holds a parade in honour of Admiral Lord Nelson and the British victory over the combined fleets of Spain and France at Trafalgar. The Areas of the Sea Cadet Corps are represented by seven 24-cadet platoons, made up of 12 male and 12 female cadets. They represent the Eastern Area, London Area, Southern Area, Southwest Area, Northwest Area, Northern Area and Marine Cadets. The National Sea Cadet Band also parades, as does a Guard and Colour Party.

On 30 April 2009, an estimated 13,500 people visited the square between 6:00 and 7:00 pm to a mass sing-a-long, organised by telephone company T-Mobile, to co-opt individuals as part of a commercial advertisement.

  

A man stands alone in the middle of Rachel Whiteread's Embankment installation in the Turbine Hall of Tate Modern in London. The exhibition consists of plastic casts of the insides of cardboard boxes.

me and spew went to see whats in the turbine hall and it is nowhere near as good as the weather experience:

 

Weather Project

The children have all left home now, and for the first time in twenty years I haven't carved a halloween pumpkin, but we do have plaster casts covering the last two decades...

en.wikipedia.org/wiki/Trafalgar_Square

 

Trafalgar Square is a square in central London, England. With its position in the heart of London, it is a tourist attraction; and one of the most famous squares in the United Kingdom and the world. At its centre is Nelson's Column, which is guarded by four lion statues at its base. Statues and sculptures are on display in the square, including a fourth plinth displaying changing pieces of contemporary art, and it is a site of political demonstrations.

The name commemorates the Battle of Trafalgar (1805), a British naval victory of the Napoleonic Wars. The original name was to have been "King William the Fourth's Square", but George Ledwell Taylor suggested the name "Trafalgar Square".

The northern area of the square had been the site of the King's Mews since the time of Edward I, while the southern end was the original Charing Cross, where the Strand from the City met Whitehall, coming north from Westminster. As the midpoint between these twin cities, Charing Cross is to this day considered the heart of London, from which all distances are measured.

In the 1820s the Prince Regent engaged the landscape architect John Nash to redevelop the area. Nash cleared the square as part of his Charing Cross Improvement Scheme. The present architecture of the square is due to Sir Charles Barry and was completed in 1845.

Trafalgar Square ranks as the fourth most popular tourist attraction on earth with more than 15 million annual visitors.

The square consists of a large central area surrounded by roadways on three sides, and stairs leading to the National Gallery on the other. The roads which cross the square form part of the A4 road, and prior to 2003, the square was surrounded by a one-way traffic system. Underpasses attached to Charing Cross tube station allow pedestrians to avoid traffic. Recent works have reduced the width of the roads and closed the northern side of the square to traffic.

Nelson's Column is in the centre of the square, surrounded by fountains designed by Sir Edwin Lutyens in 1939 (replacing two earlier fountains of Peterhead granite, now at the Wascana Centre and Confederation Park in Canada) and four huge bronze lions sculpted by Sir Edwin Landseer; the metal used is said to have been recycled from the cannon of the French fleet. The column is topped by a statue of Horatio Nelson, the admiral who commanded the British Fleet at Trafalgar.

The fountains are memorials to Lord Jellicoe (western side) and Lord Beatty (eastern side), Jellicoe being the Senior Officer.[1]

On the north side of the square is the National Gallery and to its east St Martin-in-the-Fields church. The square adjoins The Mall via Admiralty Arch to the southwest. To the south is Whitehall, to the east Strand and South Africa House, to the north Charing Cross Road and on the west side Canada House.

At the corners of the square are four plinths; the two northern ones were intended for equestrian statues, and thus are wider than the two southern. Three of them hold statues: George IV (northeast, 1840s), Henry Havelock (southeast, 1861, by William Behnes), and Sir Charles James Napier (southwest, 1855). Former Mayor of London Ken Livingstone controversially expressed a desire to see the two generals replaced with statues "ordinary Londoners would know".[2]

On the lawn in front of the National Gallery are two statues, James II to the west of the entrance portico and George Washington to the east. The latter statue, a gift from the state of Virginia, stands on soil imported from the United States. This was done in order to honour Washington's declaration he would never again set foot on British soil.[3]

In 1888 the statue of General Charles George Gordon was erected. In 1943 the statue was removed and, in 1953, re-sited on the Victoria Embankment. A bust of the Second World War First Sea Lord Admiral Cunningham by Franta Belsky was unveiled in Trafalgar Square on 2 April 1967 by Prince Philip, Duke of Edinburgh.[4]

The square has become a social and political location for visitors and Londoners alike, developing over its history from "an esplanade peopled with figures of national heroes, into the country’s foremost place politique", as historian Rodney Mace has written. Its symbolic importance was demonstrated in 1940 when the Nazi SS developed secret plans to transfer Nelson's Column to Berlin following an expected German invasion, as related by Norman Longmate in If Britain Had Fallen (1972).

Fourth plinth

The fourth plinth on the northwest corner, designed by Sir Charles Barry and built in 1841,[5] was intended to hold an equestrian statue of William IV, but remained empty due to insufficient funds.[6] Later, agreement could not be reached over which monarch or military hero to place there.

In 1999, the Royal Society of Arts (RSA) conceived the Fourth Plinth Project, which temporarily occupied the plinth with a succession of works commissioned from three contemporary artists. These were:

•Mark Wallinger: Ecce Homo (1999) – Wallinger's Ecce Homo – the Latin title of which means "Behold the man", a reference to the words of Pontius Pilate at the trial of Jesus Christ (John 19:5) – was a life-sized figure of Christ, naked apart from a loin cloth, with his hands bound behind his back and wearing a crown of barbed wire (in allusion to the crown of thorns). Atop the huge plinth, designed for larger-than-life statuary, it looked minuscule. Some commentators said that, far from making the Man look insignificant, his apparent tininess drew the eye powerfully; they interpreted it as a commentary on human delusions of grandeur.[citation needed][7]

•Bill Woodrow: Regardless of History (2000)[8]

•Rachel Whiteread: Monument (2001) – Whiteread's Monument, by an artist already notable for her controversial Turner Prize-winning work House and the Judenplatz Holocaust Memorial in Vienna, was a cast of the plinth in transparent resin placed upside-down on top of the original.[9]

Companies have used the plinth (often without permission) as a platform for publicity stunts, including a model of David Beckham by Madame Tussauds during the 2002 FIFA World Cup.[5] The London-based American harmonica player Larry Adler jokingly suggested erecting a statue of Moby-Dick, which would then be called the "Plinth of Whales".[10] A television ident for the British TV station Channel 4 shows a CGI Channel 4 logo on top of the fourth plinth.[11]

The best use of the fourth plinth remains the subject of debate. On 24 March 2003 an appeal was launched by Wendy Woods, the widow of the anti-apartheid journalist Donald Woods, hoping to raise £400,000 to pay for a nine-foot high statue of Nelson Mandela by Ian Walters.[12] The relevance of the location is that South Africa House, the South African high commission, scene of many anti-apartheid demonstrations, is on the east side of Trafalgar Square.

A committee convened to consider the RSA's late-1990s project concluded that it had been a success and "unanimously recommended that the plinth should continue to be used for an ongoing series of temporary works of art commissioned from leading national and international artists".[13] After several years in which the plinth stood empty, the new Greater London Authority assumed responsibility for the fourth plinth and started its own series of changing exhibitions:

•Marc Quinn: Alison Lapper Pregnant (unveiled 15 September 2005) – a 3.6-metre, 13-tonne[5] marble torso-bust of Alison Lapper, an artist who was born with no arms and shortened legs due to a condition called phocomelia.[14]

•Thomas Schütte: Model for a Hotel 2007 (formerly Hotel for the Birds) (unveiled 7 November 2007) – a 5-metre by 4.5-metre by 5-metre architectural model of a 21-storey building made from coloured glass. The work cost £270,000 and was funded primarily by the Mayor of London and the Arts Council of England. Sandy Nairne, director of the National Portrait Gallery and chairman of the Fourth Plinth Commissioning Group that recommended Quinn's and Schütte's proposals to the Mayor in 2004, said: "There will be something extraordinarily sensual about the play of light through the coloured glass ... [I]t's going to feel like a sculpture of brilliance and light."[5][15]

•Antony Gormley: One & Other (6 July – 14 October 2009) – for a hundred consecutive days, 2,400 selected members of the public will each spend one hour on the plinth. They are allowed to do anything they wish to and are able to take anything with them, provided they can carry it unaided. Volunteers for the Fourth Plinth were invited to apply through the website www.oneandother.co.uk, and were chosen so that ethnic minorities and people from all parts of Britain were represented. For safety reasons, the plinth is surrounded by a net, and a team of six stewards is present 24 hours a day to make sure that, for instance, participants are not harmed by hecklers. There is a live feed of the plinth on the Internet sponsored by TV channel Sky Arts.[16][17] Gormley has said: "In the context of Trafalgar Square with its military, valedictory and male historical statues, this elevation of everyday life to the position formerly occupied by monumental art allows us to reflect on the diversity, vulnerability and particularity of the individual in contemporary society. It's about people coming together to do something extraordinary and unpredictable. It could be tragic but it could also be funny."[17]

In February 2008, Terry Smith, the chief executive of trading house Tullett Prebon, offered to pay more than £100,000 for a permanent statue acceptable to "ordinary Londoners" of Air Chief Marshal Sir Keith Rodney Park in recognition of his work as commander of No. 11 Group RAF during the Battle of Britain, as it was this Group that was responsible for the defence of London. A Greater London Authority spokesman said: "There are many worthy suggestions for statues on the fourth plinth and some people feel passionately about each of them. All proposals will be judged on their merits including its current use as one of the most high profile sites for contemporary public art in London. The cost of erecting the current work on the plinth is £270,000. The cost of a permanent monument is likely to be considerably more."[18] Subsequently, it was announced in May 2009 that in autumn that year a 5-metre high fibreglass statue of Sir Keith would be placed on the fourth plinth for six months, with a 2.78-metre bronze statue permanently installed in Waterloo Place.[19]

Fountains

When the square was first built in 1845, the fountains' primary purpose was not aesthetics, but rather to reduce the open space available and the risk of riotous assembly. They were originally fed by a steam engine behind the National Gallery from an artesian well underground. However, the engine were generally considered to be underpowered, so in the late 1930s the decision was made to replace them with stone basins and a new pump. At a cost of almost £50,000, the fountains were replaced with a design by Sir Edwin Lutyens and the old fountains were sold to donors and became gifts to Canada, eventually installed in Ottawa and Regina, where they are still in use today.[20][21] The Lutyens design is now listed Grade II.

Further restoration work became necessary and was completed by May 2009. The pump system was replaced as only one of three pumps was functioning. The new pump is capable of sending an 80-foot (24.4 m) jet of water into the air.[22] A new LED lighting system was also installed during this restoration to reduce the cost of lighting maintenance as the old incandscent bulbs cost £1,000 to replace and were failing regularly. The new lighting has been designed with the London 2012 Summer Olympics in mind and for the first time will project many different combinations of colours on to the fountains.[20] In addition, the new lighting system has a much lower energy requirement and will reduce the carbon footprint of the lighting by around 90%.[22]

Pigeons

The square used to be famous for its feral pigeons, and feeding them was a popular activity with Londoners and tourists. The National Portrait Gallery displays a 1948 photograph of Elizabeth Taylor posing there with bird seed so as to be mobbed by birds. The desirability of the birds' presence has long been contentious: their droppings look ugly on buildings and damage the stonework, and the flock, estimated at its peak to be 35,000, was considered to be a health hazard. In 1996, police arrested one man who was estimated to have trapped 1,500 birds for sale to a middleman; it is assumed that the birds ended up in the human food chain.[citation needed]

In 2000, the sale of bird seed in the square was controversially terminated and other measures were introduced to discourage the pigeons, including the use of trained falcons. Supporters of the birds – including Save the Trafalgar Square Pigeons – as well as some tourists continued to feed the birds, but in 2003 the then Mayor of London Ken Livingstone enacted byelaws to ban the feeding of pigeons within the square.[23] Due to frequent circumvention of these byelaws, on 10 September 2007 further byelaws were passed by the Westminster City Council to ban the feeding of birds on the square's pedestrianised North Terrace, the entire perimeter of the square, the area around St Martin-in-the-Fields Church, the space directly in front of the National Gallery, Canada House, South Africa House and parts of The Mall, Charing Cross Road and The Strand.[24] There are now few birds in Trafalgar Square and it is used for festivals and hired out to film companies in a way that was not feasible in the 1990s.

Redevelopment

In 2003 the redevelopment of the north side of the square was completed. The work involved permanently closing the main eastbound road there – diverting it around the rest of the square and demolishing part of the wall and building a wide set of stairs. This construction includes two Saxon scissor lifts for disabled access, public toilets, and a small café. Plans for a large staircase had long been discussed, even in original plans for the square. The new stairs lead to a large terrace or piazza in front of the National Gallery, in what was previously a road. Previously access between the square and the Gallery was via two busy crossings at the north east and north west corners of the square. The pedestrianisation plan was carried out in the face of protests from both road-users and pedestrians concerned that the diversion of traffic would lead to greater congestion elsewhere in London. However, this does not seem to have happened;[citation needed] the reduction in traffic due to the London congestion charge may be a factor.

New Year events

For many years, revellers celebrating the start of a New Year have gathered on the square, despite a lack of civic celebrations being arranged for them. The lack of official events in the square was partly because the authorities were concerned that actively encouraging more partygoers would cause overcrowding.

Since 2005, a firework display centred on London Eye and the South Bank of the Thames near the Square has given spectators a fitting start to the New Year.

VE Day celebrations

Victory in Europe Day (VE Day) was 8 May 1945, the date when the Allies during the Second World War formally celebrated the defeat of Nazi Germany and the end of Adolf Hitler's Third Reich. Trafalgar Square was filled with British subjects wanting to hear the formal announcement by Sir Winston Churchill that the war was over. Trafalgar Square was also used as a place of celebration by people travelling there from all over the country. On 8 May 2005 the BBC held a concert hosted by Eamonn Holmes and Natasha Kaplinsky to celebrate the 60th anniversary of VE Day.

Christmas ceremony

There has been a Christmas ceremony at Trafalgar Square every year since 1947. A Norway Spruce (or sometimes a fir) is given by Norway's capital Oslo and presented as London's Christmas tree, as a token of gratitude for Britain's support during World War II. (Besides the general war support, Norway's Prince Olav, as well as the country's government, lived in exile in London throughout the war.) As part of the tradition, the Lord Mayor of Westminster visits Oslo in the late autumn to take part in the felling of the tree, and the Mayor of Oslo then comes to London to light the tree at the Christmas ceremony.[25]

Political demonstrations

Since its construction, Trafalgar Square has been a venue for political demonstrations, though the authorities have often attempted to ban them. The 1939 fountains were allegedly[who?] added on their current scale to reduce the possibility of crowds gathering in the square as they were not in the original plans.

By March of the year Nelson's column opened, the authorities had started banning Chartist meetings in the square. A general ban on political rallies remained in effect until the 1880s, when the emerging Labour movement, particularly the Social Democratic Federation, began holding protests there.

On "Black Monday" (8 February 1886), protesters rallied against unemployment; this led to a riot in Pall Mall. A larger riot (called "Bloody Sunday") occurred in the square on 13 November 1887.

One of the first significant demonstrations of the modern era was held in the square on 19 September 1961 by the Committee of 100, which included the philosopher Bertrand Russell. The protesters rallied for peace and against war and nuclear weapons.

Throughout the 1980s, a continuous anti-apartheid protest was held outside South Africa House. More recently, the square has hosted the Poll Tax Riots (1990) and anti-war demonstrations opposing the Afghanistan war and the Iraq war.[26]

The square was also scene to a large vigil held shortly after the terrorist bombings in London on Thursday, 7 July 2005.[27]

Sports events

On 21 June 2002, 12,000 people gathered in the square to watch the England national football team's World Cup quarter-final against Brazil on giant video screens which had been erected specially for the occasion.[28]

In the early 21st century, Trafalgar Square has become the location to the climax for victory parades. It was used by the England national rugby union team on 9 December 2003 to celebrate its victory in the 2003 Rugby World Cup, and then on 13 September 2005 for the England national cricket team's victory against the Australia national cricket team in The Ashes.

On 6 July 2005 Trafalgar Square was a gathering place to hear the announcement that London had won the bid to host the 2012 Summer Olympics.

In 2007, Trafalgar Square hosted the opening ceremonies of the Tour de France.

Other uses

This painting (c. 1865) by an unknown artist is southwards across Trafalgar Square, with the towers of the Houses of Parliament on the skyline

Trafalgar Square is popularly used in films to suggest a generic London location (as an alternative to Big Ben) or less frequently, Britain in general. It featured prominently in films and television during the Swinging London era of the late 1960s, including The Avengers, Casino Royale, Doctor Who, The Ipcress File and Man in a Suitcase.

Trafalgar Square was used for portions of two sketches from the BBC comedy series Monty Python's Flying Circus. In a continuation of the sketch Collecting Birdwatchers' Eggs, several people in tan trenchcoats wander around the square mocking the famous pigeons. The sketch Olympic Hide and Seek also starts here. This sketch features Graham Chapman as British contestant Don Roberts and Terry Jones as Francisco Huron, his competitor from Paraguay in a contest that ends in a tie after more than 11 years. Chapman catches a taxi near the base of Lord Nelson's Column at the beginning of the sketch. Trafalgar Square also appears in cartoon form in several of Terry Gilliam's animations.

Trafalgar Square is also featured in the comic version of V for Vendetta as the location that the V's meet the army and defeat them, without a single fired shot due to sheer numbers (and the work of the Original V).

The square was also the location of the successful "World's Largest Coconut Orchestra" world record attempt on 23 April 2007. The record was set on St George's Day, and was followed by a screening of Monty Python and the Holy Grail. The world record attempt was linked with the use of coconuts during the film as well as the stage show Spamalot.

In May 2007, the square was grassed over with 2,000 square metres of turf for two days as part of a campaign by London authorities to promote "green spaces" in the city.[29]

In July 2007, the square held a parade and concert for the 60th independence of Pakistan from Great Britain. The event included many legendary sports and celebrity performances and many exhibitions of Pakistan's heritage and culture. It was recorded to be the biggest gathering of expat Pakistanis in the whole of Europe. It was televised live with Geo TV, a private Pakistani television and the High Commission of Pakistan.

Every year on the anniversary of the Battle of Trafalgar (21 October), the Sea Cadet Corps holds a parade in honour of Admiral Lord Nelson and the British victory over the combined fleets of Spain and France at Trafalgar. The Areas of the Sea Cadet Corps are represented by seven 24-cadet platoons, made up of 12 male and 12 female cadets. They represent the Eastern Area, London Area, Southern Area, Southwest Area, Northwest Area, Northern Area and Marine Cadets. The National Sea Cadet Band also parades, as does a Guard and Colour Party.

On 30 April 2009, an estimated 13,500 people visited the square between 6:00 and 7:00 pm to a mass sing-a-long, organised by telephone company T-Mobile, to co-opt individuals as part of a commercial advertisement.

  

Ruin Lust, the new exhibition at Tate Britain opens this week. It offers a guide to the fascination that ruins have held for artists from the seventeenth century to the present day. Highlights include: Jane and Louise Wilson’s Azeville 2006 (PICTURED) in the opening room of the exhibition - shown next to major works by John Constable (Sketch for ‘Hadleigh Castle’ c.1828–9) and John Martin (The Destruction of Pompeii and Herculaneum) - at nearly three metres wide, this photograph is part of their series depicting the Nazi defensive bunkers along the north coast of France; major works by Tacita Dean (Kodak 2006), Rachel Whiteread (Demolished – B: Clapton Park Estate 1996), Gerard Byrne (1984 and Beyond), Paul Nash (Pillar and Moon 1932-42), Graham Sutherland (Devastation series 1940–1), J.M.W. Turner (The Crossing and Chancel, Looking towards the East Window 1794) and John Piper; and Eduardo Paolozzi’s Michelangelo’s ‘David’ 1987, a cast of the famous marble sculpture which the artist sawed in to pieces and glued back together. The exhibition runs from 4 March – 18 May 2014. Tate Britain, Millbank, London, UK 03 March 2014.

-Functional objects from Donald Judd to Rachel Whiteread -Published by Merell/Cooper Hewitt, National Design Museum -By Barbara Bloemink -ISBN 185894-2675 -Copyright 2004 -Soft back

 

All proceeds help us continue the fight against HIV/AIDS and homelessness

Rachel Whiteread: Long Eyes at Luhring Augustine

Ruin Lust, the new exhibition at Tate Britain opens this week. It offers a guide to the fascination that ruins have held for artists from the seventeenth century to the present day. Highlights include: Jane and Louise Wilson’s Azeville 2006 (PICTURED) in the opening room of the exhibition - shown next to major works by John Constable (Sketch for ‘Hadleigh Castle’ c.1828–9) and John Martin (The Destruction of Pompeii and Herculaneum) - at nearly three metres wide, this photograph is part of their series depicting the Nazi defensive bunkers along the north coast of France; major works by Tacita Dean (Kodak 2006), Rachel Whiteread (Demolished – B: Clapton Park Estate 1996), Gerard Byrne (1984 and Beyond), Paul Nash (Pillar and Moon 1932-42), Graham Sutherland (Devastation series 1940–1), J.M.W. Turner (The Crossing and Chancel, Looking towards the East Window 1794) and John Piper; and Eduardo Paolozzi’s Michelangelo’s ‘David’ 1987, a cast of the famous marble sculpture which the artist sawed in to pieces and glued back together. The exhibition runs from 4 March – 18 May 2014. Tate Britain, Millbank, London, UK 03 March 2014.

Rachel Whiteread found an old, battered cardboard box in her mother's house shortly after she died, this container of memories became the inspiration for her art piece 'Embankment' exhibited at the Tate Modern.

 

1374

Rachel Whiteread's memorial to the Holocaust.

www.lwl.org/skulptur-projekte-download/muenster/97/kopyst...

 

Sculpture projects Münster 1997, Curators Kasper König and Klaus Bussmann. Münster, Germany

Skulptur. Projekte in Münster 1997

 

For the part called Travels and leaves behind, in a

period of one month were made 40 photographs from various

objects: tools and materials which were used by

construction workers during the restoration of the

Westfälisches Landesmuseum in Muenster.

 

All these objects were considered sculptures exhibited

in the museum.

Photographs from these sculptural works were

exhibited in the same museum space where they were

taken.

 

For the part of the project called Anthology or Things

that Might Have Been were made 40 photographs from various

selected objects: tools and materials which were

used by different artists in a project for a production

of their artworks.

These objects were considered as finished art works.

Each image was printed as a multiple edition and was

presented as posters on streets of the city.

 

Kim Adams, Carl Andre, Michael Asher, Georg Baselitz, Alighiero e Boetti, Christine Borland, Daniel Buren, Janet Cardiff, Maurizio Cattelan, Eduardo Chillida, Stephen Craig, Richard Deacon, Mark Dion, Stan Douglas, Maria Eichhorn, Ayse Erkmen, Peter Fischli / David Weiss, Isa Genzken, Paul-Armand Gette, Jef Geys, Douglas Gordon, Dan Graham, Marie-Ange Guilleminot, Hans Haacke, Raymond Hains, Georg Herold, Thomas Hirschhorn, Rebecca Horn, Huang Yong Ping, Bethan Huws, Fabrice Hybert, Ilya Kabakov, Tadashi Kawamata, Martin Kippenberger, Per Kirkeby, Jeff Koons, Svetlana Kopystiansky, Sol LeWitt, Atelier van Lieshout, Olaf Metzel, Reinhard Mucha, Maria Nordmann, Claes Oldenburg / Coosje van Bruggen, Gabriel Orozco, Tony Oursler, Nam June Paik, Jorge Pardo, Hermann Pitz, Marjetica Potrc, Charles Ray, Tobias Rehberger, Ulrich Rückriem, Allen Ruppersberg, Reiner Ruthenbeck, Kurt Ryslavy, Karin Sander, Thomas Schütte, Richard Serra, Roman Signer, Andreas Slominski, Yutaka Sone, Diana Thater, Bert Theis, Rirkrit Tiravanija, Eulàlia Valldosera, Herman de Vries, Lawrence Weiner, Franz West, Rachel Whiteread, Elin Wikström, Wolfgang Winter / Berthold Hörbelt, Jeffrey Wisniewski, Andrea Zittel, Heimo Zobernig

Rachel Whiteread. (British, born 1963). Drawing for Water Tower, V. (1997). Tape, ink, varnish and correction fluid on color photographs, 19 7/8 x 17 1/2" (50.5 x 44.5 cm). Purchase. © 2008 Rachel Whiteread

College project to create a promotional poster and leaflet for a Rachel Whiteread exhibition.

Rachel Whiteread's Embankment at the Tate

This piece is part of the "Cursed Works" reference series I have been dabbling with over the past few weeks. Although it may be pretty hard to see, this is in fact a massed assemblage of coding that, if formatted correctly, would display an image of Rachel Whiteread's "Ghost", 1990. Before I massed all this code together, this text took up approximately 340 pages of digital document. I also had alot of difficulty printing a hardcopy of this text because the coding would force the printer to reboot itself over-and-over-and-over... So, in a way, I found a sort of archived viral digital ghost through a process of researching and dissecting material that is associated with themes surrounding death, presence, history, and space.

 

creepy.

 

the text is at a 3pt size ratio.

 

I did not write the code, I snatched it after reaching a wall in my research.

Rachel Whiteread @ Tate Modern

This sculpture was on the site of 193 Grove Road (just up from Mile End station) in late 1993. I took this picture just before it was demolished, and I estimate that to have been at the start of December that year. You wouldn't want to live in it, and I guess you wouldn't want to look at it all the time, but I must say I rather liked it. Nearly a decade later I saw her Holocaust Memorial in the Judenplatz in Vienna, and it seemed to be pretty much more of the same, but in more permanence.

 

Visitors' Top Twenty: as noted above, there has been a steady stream of scholarly interest in this picture, which was taken on a little Olympus pocket camera on a beautifully sunny December day, and I gather it has now been used for a book. Which is nice.

Thank you Rachel Whiteread

Naomi

Biography

Marlene Dumas (1953) grew up with her two older brothers in Jacobsdal, her father’s winery in Kuilsrivier, South Africa. With Afrikaans as her mother tongue she went to the English-language University of Cape Town in 1972. There she obtained a Bachelor’s Degree in Fine Arts in 1975. With a two-year scholarship, she opted to come to Europe and more specifically to the Netherlands because of the language kinship. As well as visual art, language is an important means of expression for Dumas. She gives her exhibitions and individual works striking titles, writes texts about her paintings and makes commentaries on her own pieces. These texts are collected in the publication, Sweet Nothings (1998).

 

In the Netherlands she worked at Ateliers ‘63 in Haarlem from 1976 to 1978. Twenty years later, in 1998, she returned to art school De Ateliers, now based in Amsterdam, as a permanent staff member. In addition, Marlene Dumas has taught at several other Dutch art institutes.

 

In 1978, she exhibited her work for the first time, at the Stedelijk Museum in Amsterdam. Work by René Daniels and Ansuya Blom also featured in this exhibition, called Atelier 15 (10 Young Artists). In 1982, her work was shown in Basel, in the exhibition Junge kunst aus die Niederlanden. In the same year, Rudi Fuchs asked her to take part in Documenta 7. In 1983, she got her first solo show, Unsatisfied Desire, at Gallery Helen van der Meij / Paul Th. Andriesse in Amsterdam. In 1984, the Centraal Museum Utrecht became the first museum to invite her to do a solo exhibition. Dumas responded with a collection of collages, texts and works on paper under the title Ons Land Ligt Lager dan de Zee. In 1985, The Eyes of the Night Creatures was her first exhibition devoted solely to painting.

 

Since the late eighties, her work has been featured in European group exhibitions in museums such as the Tate Gallery in London, under the title Art from Europe (1987) and in Bilderstreit in Cologne (1989). Her first major solo exhibition opened abroad three months after the birth of her daughter in the Kunsthalle in Berne: The Question of Human Pink (1989). In 1992, all the halls of the Van Abbe Museum in Eindhoven were dedicated to her exhibition Miss Interpreted. This solo show was followed by a tour of Europe and then America. In 1992 her work was also shown at Documenta IX, at the invitation of Jan Hoet. Her first solo gallery show in New York at Jack Tilton received the appropriate title Not from Here. That was in 1994, the year of the first free democratic elections in South Africa. It was also the year in which she exhibited at the Frith Street Gallery in London, along with her contemporaries Juan Muñoz and Thomas Schütte. In 1995, Chris Dercon made the selection for the Dutch contribution to the Venice Biennale, choosing three women: Marlene Dumas, Marijke van Warmerdam and Mary Roossen.

 

From the mid-nineties, Dumas’ work featured in exhibitions of art from the Netherlands, such as Du concept à l’image (Paris, 1994). She also participated in international, interdisciplinary projects including The 21st Century (Basel, 1993), with Damien Hirst, Roni Horn and others, and the Carnegie International (Pittsburgh, 1995). In 1996, her sparring partners at the Hirshhorn Museum in Washington DC included Mike Kelley, Thomas Schütte, Robert Gober and Rachel Whiteread. The exhibition was entitled, Distemper: Dissonant Themes in the Art of the 1990s. In 1993, Zeno X Gallery, Antwerp, staged Dumas’ show, Give the People What They Want. The works in this exhibition then went on to become part of the ‘Der Spiegel zerbrochene’, Positionen zur Malerei (1993), curated by Kaspar König and H.U. Obrist. Other participating artists included Luc Tuymans and Gerhard Richter. Other important exhibitions devoted to painting in which Dumas was represented included Trouble Spot: Painting (1999), Painting at the Edge of the World (2001) and The Painting of Modern Life (2007). Her work has also featured in exhibitions with a focus on Africa, such as the Africus Biennale in Johannesburg (1995) and in Africa Remix (2004-2006).

 

Although Marlene Dumas has had Dutch nationality since 1989, she has said:

Someone once remarked that I could not be a South African artist and a Dutch artist, that I could not have it both ways.

I don’t want it both ways.

I want it more ways.

 

Dumas’ work spans over thirty years. In 2001, Jonas Storsve of the Centre Pompidou staged the first retrospective of her works on paper under the title Nom de Personne. This exhibition was subsequently featured in the New Museum, New York, and in the De Pont Museum in Tilburg, under the title, Name no Names. Between 2007 and 2009 a retrospective of her entire oeuvre, in varying combinations, toured three continents. Starting in Japan under the name Broken White, the overview travelled to South Africa with the title, Intimate Relations. It was the first time that so much of Dumas’ work could be seen on her native soil. The retrospective concluded its tour at the Museum for Contemporary Arts in Los Angeles, the Museum of Modern Art in New York, and The Menil in Houston, where it was called, Measuring Your Own Grave.

Rachel Whiteread's Holocaust Memorial

Overlooking the River Thames, Tate Modern, London

Rachel Whiteread's exhibition was on at the time.

Glorious Venice

Biography

Marlene Dumas (1953) grew up with her two older brothers in Jacobsdal, her father’s winery in Kuilsrivier, South Africa. With Afrikaans as her mother tongue she went to the English-language University of Cape Town in 1972. There she obtained a Bachelor’s Degree in Fine Arts in 1975. With a two-year scholarship, she opted to come to Europe and more specifically to the Netherlands because of the language kinship. As well as visual art, language is an important means of expression for Dumas. She gives her exhibitions and individual works striking titles, writes texts about her paintings and makes commentaries on her own pieces. These texts are collected in the publication, Sweet Nothings (1998).

 

In the Netherlands she worked at Ateliers ‘63 in Haarlem from 1976 to 1978. Twenty years later, in 1998, she returned to art school De Ateliers, now based in Amsterdam, as a permanent staff member. In addition, Marlene Dumas has taught at several other Dutch art institutes.

 

In 1978, she exhibited her work for the first time, at the Stedelijk Museum in Amsterdam. Work by René Daniels and Ansuya Blom also featured in this exhibition, called Atelier 15 (10 Young Artists). In 1982, her work was shown in Basel, in the exhibition Junge kunst aus die Niederlanden. In the same year, Rudi Fuchs asked her to take part in Documenta 7. In 1983, she got her first solo show, Unsatisfied Desire, at Gallery Helen van der Meij / Paul Th. Andriesse in Amsterdam. In 1984, the Centraal Museum Utrecht became the first museum to invite her to do a solo exhibition. Dumas responded with a collection of collages, texts and works on paper under the title Ons Land Ligt Lager dan de Zee. In 1985, The Eyes of the Night Creatures was her first exhibition devoted solely to painting.

 

Since the late eighties, her work has been featured in European group exhibitions in museums such as the Tate Gallery in London, under the title Art from Europe (1987) and in Bilderstreit in Cologne (1989). Her first major solo exhibition opened abroad three months after the birth of her daughter in the Kunsthalle in Berne: The Question of Human Pink (1989). In 1992, all the halls of the Van Abbe Museum in Eindhoven were dedicated to her exhibition Miss Interpreted. This solo show was followed by a tour of Europe and then America. In 1992 her work was also shown at Documenta IX, at the invitation of Jan Hoet. Her first solo gallery show in New York at Jack Tilton received the appropriate title Not from Here. That was in 1994, the year of the first free democratic elections in South Africa. It was also the year in which she exhibited at the Frith Street Gallery in London, along with her contemporaries Juan Muñoz and Thomas Schütte. In 1995, Chris Dercon made the selection for the Dutch contribution to the Venice Biennale, choosing three women: Marlene Dumas, Marijke van Warmerdam and Mary Roossen.

 

From the mid-nineties, Dumas’ work featured in exhibitions of art from the Netherlands, such as Du concept à l’image (Paris, 1994). She also participated in international, interdisciplinary projects including The 21st Century (Basel, 1993), with Damien Hirst, Roni Horn and others, and the Carnegie International (Pittsburgh, 1995). In 1996, her sparring partners at the Hirshhorn Museum in Washington DC included Mike Kelley, Thomas Schütte, Robert Gober and Rachel Whiteread. The exhibition was entitled, Distemper: Dissonant Themes in the Art of the 1990s. In 1993, Zeno X Gallery, Antwerp, staged Dumas’ show, Give the People What They Want. The works in this exhibition then went on to become part of the ‘Der Spiegel zerbrochene’, Positionen zur Malerei (1993), curated by Kaspar König and H.U. Obrist. Other participating artists included Luc Tuymans and Gerhard Richter. Other important exhibitions devoted to painting in which Dumas was represented included Trouble Spot: Painting (1999), Painting at the Edge of the World (2001) and The Painting of Modern Life (2007). Her work has also featured in exhibitions with a focus on Africa, such as the Africus Biennale in Johannesburg (1995) and in Africa Remix (2004-2006).

 

Although Marlene Dumas has had Dutch nationality since 1989, she has said:

Someone once remarked that I could not be a South African artist and a Dutch artist, that I could not have it both ways.

I don’t want it both ways.

I want it more ways.

 

Dumas’ work spans over thirty years. In 2001, Jonas Storsve of the Centre Pompidou staged the first retrospective of her works on paper under the title Nom de Personne. This exhibition was subsequently featured in the New Museum, New York, and in the De Pont Museum in Tilburg, under the title, Name no Names. Between 2007 and 2009 a retrospective of her entire oeuvre, in varying combinations, toured three continents. Starting in Japan under the name Broken White, the overview travelled to South Africa with the title, Intimate Relations. It was the first time that so much of Dumas’ work could be seen on her native soil. The retrospective concluded its tour at the Museum for Contemporary Arts in Los Angeles, the Museum of Modern Art in New York, and The Menil in Houston, where it was called, Measuring Your Own Grave.

Artist; Rachel Whitread. 'Deteched 3', 2012.

The Philbrook Museum of Art in Tulsa, Oklahoma is an art museum housed in part in a 1920’s villa, situated on 23 acres of formal and informal gardens. The original structure is the former home of Oklahoma oil pioneer Waite Phillips and his wife Genevieve (Elliott) Phillips. As of 2007, the museum has a staff of 60 and an operating budget of nearly $6 million.[1]

The museum opened October 25, 1939. It was known as the Philbrook Art Center until 1987, when the name was changed to Philbrook Museum of Art.[2] The collection housed at the Philbrook Museum of Art includes works from Giovanni Bellini, William-Adolphe Bouguereau, William Merritt Chase, Leonardo Drew, Arturo Herrera, Charles Loloma, Maria Martinez, Thomas Moran, Fritz Scholder, Tanzio da Varallo, Rachel Whiteread, and Andrew Wyeth.

The museum serves an average of 149,000 visitors annually.[citation needed

Sad Romy, 2008

Biography

Marlene Dumas (1953) grew up with her two older brothers in Jacobsdal, her father’s winery in Kuilsrivier, South Africa. With Afrikaans as her mother tongue she went to the English-language University of Cape Town in 1972. There she obtained a Bachelor’s Degree in Fine Arts in 1975. With a two-year scholarship, she opted to come to Europe and more specifically to the Netherlands because of the language kinship. As well as visual art, language is an important means of expression for Dumas. She gives her exhibitions and individual works striking titles, writes texts about her paintings and makes commentaries on her own pieces. These texts are collected in the publication, Sweet Nothings (1998).

 

In the Netherlands she worked at Ateliers ‘63 in Haarlem from 1976 to 1978. Twenty years later, in 1998, she returned to art school De Ateliers, now based in Amsterdam, as a permanent staff member. In addition, Marlene Dumas has taught at several other Dutch art institutes.

 

In 1978, she exhibited her work for the first time, at the Stedelijk Museum in Amsterdam. Work by René Daniels and Ansuya Blom also featured in this exhibition, called Atelier 15 (10 Young Artists). In 1982, her work was shown in Basel, in the exhibition Junge kunst aus die Niederlanden. In the same year, Rudi Fuchs asked her to take part in Documenta 7. In 1983, she got her first solo show, Unsatisfied Desire, at Gallery Helen van der Meij / Paul Th. Andriesse in Amsterdam. In 1984, the Centraal Museum Utrecht became the first museum to invite her to do a solo exhibition. Dumas responded with a collection of collages, texts and works on paper under the title Ons Land Ligt Lager dan de Zee. In 1985, The Eyes of the Night Creatures was her first exhibition devoted solely to painting.

 

Since the late eighties, her work has been featured in European group exhibitions in museums such as the Tate Gallery in London, under the title Art from Europe (1987) and in Bilderstreit in Cologne (1989). Her first major solo exhibition opened abroad three months after the birth of her daughter in the Kunsthalle in Berne: The Question of Human Pink (1989). In 1992, all the halls of the Van Abbe Museum in Eindhoven were dedicated to her exhibition Miss Interpreted. This solo show was followed by a tour of Europe and then America. In 1992 her work was also shown at Documenta IX, at the invitation of Jan Hoet. Her first solo gallery show in New York at Jack Tilton received the appropriate title Not from Here. That was in 1994, the year of the first free democratic elections in South Africa. It was also the year in which she exhibited at the Frith Street Gallery in London, along with her contemporaries Juan Muñoz and Thomas Schütte. In 1995, Chris Dercon made the selection for the Dutch contribution to the Venice Biennale, choosing three women: Marlene Dumas, Marijke van Warmerdam and Mary Roossen.

 

From the mid-nineties, Dumas’ work featured in exhibitions of art from the Netherlands, such as Du concept à l’image (Paris, 1994). She also participated in international, interdisciplinary projects including The 21st Century (Basel, 1993), with Damien Hirst, Roni Horn and others, and the Carnegie International (Pittsburgh, 1995). In 1996, her sparring partners at the Hirshhorn Museum in Washington DC included Mike Kelley, Thomas Schütte, Robert Gober and Rachel Whiteread. The exhibition was entitled, Distemper: Dissonant Themes in the Art of the 1990s. In 1993, Zeno X Gallery, Antwerp, staged Dumas’ show, Give the People What They Want. The works in this exhibition then went on to become part of the ‘Der Spiegel zerbrochene’, Positionen zur Malerei (1993), curated by Kaspar König and H.U. Obrist. Other participating artists included Luc Tuymans and Gerhard Richter. Other important exhibitions devoted to painting in which Dumas was represented included Trouble Spot: Painting (1999), Painting at the Edge of the World (2001) and The Painting of Modern Life (2007). Her work has also featured in exhibitions with a focus on Africa, such as the Africus Biennale in Johannesburg (1995) and in Africa Remix (2004-2006).

 

Although Marlene Dumas has had Dutch nationality since 1989, she has said:

Someone once remarked that I could not be a South African artist and a Dutch artist, that I could not have it both ways.

I don’t want it both ways.

I want it more ways.

 

Dumas’ work spans over thirty years. In 2001, Jonas Storsve of the Centre Pompidou staged the first retrospective of her works on paper under the title Nom de Personne. This exhibition was subsequently featured in the New Museum, New York, and in the De Pont Museum in Tilburg, under the title, Name no Names. Between 2007 and 2009 a retrospective of her entire oeuvre, in varying combinations, toured three continents. Starting in Japan under the name Broken White, the overview travelled to South Africa with the title, Intimate Relations. It was the first time that so much of Dumas’ work could be seen on her native soil. The retrospective concluded its tour at the Museum for Contemporary Arts in Los Angeles, the Museum of Modern Art in New York, and The Menil in Houston, where it was called, Measuring Your Own Grave.

Dozens of cookers: early conditioning for little girls.

Reminds me of the Modern Chess Set by Rachel Whiteread.

 

Installation by Carolina Kecskemethy, “consisting of her large collection of miniature furniture pieces. Kecskemethy puts this arrangement in relation to drawing and to a video work about Jacques Offenbach’s ‘Can-Can’ music.”

 

Part of the (past) exhibition Mobilien – Movables. 1000 Pieces of Furniture on 80 Squaremeters at Museum der Dinge.

1 3 4 5 6 7 ••• 69 70