Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Widely considered as one of the most influential British artists of his generation, Long's practice stems from his deep love of nature and the experience of making solitary walks. He first came to prominence in the late 1960s and is part of a generation of international artists that extended the possibilities of sculpture beyond traditional materials and methods. This volume includes a coherent span of over 30 essays and reviews on the artist from the late 1960s to the present, drawn together here for the first time. The texts are accompanied by a selection of the artist's own statements, key interviews, as well as an introductory essay by Clarrie Wallis that examines Long's unique position within postwar art history.

Art --- 73.07 --- Long, Richard °1945 (°Bristol, Groot-Brittannië) --- Land Art ; landschapskunst ; omgevingskunst --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- History and criticism --- Beeldhouwkunst ; beeldhouwers A - Z --- Long, Richard, --- Criticism and interpretation. --- Sculpture --- photographs --- sculpture [visual works] --- earthworks [sculpture] --- installations [visual works] --- environmental art --- walking --- landscapes [environments] --- biological material --- Long, Richard --- artists' statements --- Art, Primitive

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

In-A-Gadda-Da-Vida is a unique collaboration between three of Britain’s best-known contemporary artists. Angus Fairhurst, Damien Hirst and Sarah Lucas first met on the Fine Art course at Goldsmiths College, London in 1986 and have remained close, influencing each other’s work through friendship and intermittent collaboration. This is the first time the three have worked together to realise a full-scale exhibition installation. The exhibition features mainly new work which is unveiled for the first time at Tate Britain.

The exhibition’s title - a mutated reference to the biblical theme of the Garden of Eden - is taken from the 1968 recording by the psychedelic rock band Iron Butterfly. The potent story of Eden provides the setting for an exhibition which explores the themes of life, love, sex, death and destruction. While Fairhurst, Hirst and Lucas explore common themes, In-A-Gadda-Da-Vida also reveals their differing formal and material approaches and use of metaphor in creating their work.

In-A-Gadda-Da-Vida’s installation features a large, open space revealing a dramatic landscape populated by seemingly bizarre objects, with wallpaper conceived by each of the three artists providing the background for their work. Sarah Lucas often uses commonplace items such as pizza delivery flyers, soft drink cans and cigarettes to create unexpectedly finely-crafted objects. Among her sculptures in the exhibition is The Man Who Sold the World 2004, which features a truck whose cab is papered with tabloid newspapers and Christ You Know It Ain’t Easy 2003, a sculpture of Christ created from cigarettes and positioned against a representation of the flag of St George.

Damien Hirst meanwhile makes increasingly complex installations using vitrines and has returned to the use of butterflies in recent paintings. He shows five new vitrines in
In-A-Gadda-Da-Vida including The Pursuit of Oblivion 2004, Hirst’s reworking of Francis Bacon’s Painting, 1946. In Bacon’s painting the crucified body hangs like an animal carcass whereas in Hirst’s sculpture the body has literally been transformed into the carcass of a cow, surrounded by live fish, sausages and a butcher’s block and knives. He also exhibits a large, circular work in which thousands of dead flies create a thickly encrusted surface.

Angus Fairhurst’s work revolves around an heightened sense of collapse, of disintegration of form and renewal. His large billboard works sandwich together a number of advertisements to create complex compositions. He also shows One Year of the News (1st January - 31st December 2003) 2004, a piece in which each day of one year is marked by the copying and overlaying of the front pages of six British national newspapers, instantly recognisable but unreadable.

The exhibition is curated by Gregor Muir, Kramlich Curator of Contemporary Art, Tate and Clarrie Wallis, Curator, Tate Britain, and will be accompanied by an illustrated catalogue.

Artistic collaboration --- (069) --- 7.039 --- Beeldende kunst ; Groot-Brittannië ; 21ste eeuw --- Damien Hirst (° 1965, Bristol, Gr.-Br.) Angus Fairhurst (° 1966, Penbury, Kent, Gr.-Br.) --- Fairhurst, Angus --- Hirst, Damien --- Lucas, Sarah --- Sarah Lucas (° 1962, London, Gr.-Br.) --- Tentoonstellingscatalogi ; London ; Tate Britain --- Collaboration, Artistic --- Creation (Literary, artistic, etc.) --- Group work in art --- (Musea. Collecties) --- Kunstgeschiedenis ; 2000 - 2050 --- Lucas, Sarah, --- Iconography --- Art --- art [fine art] --- paradise [doctrinal concept] --- installation artists --- installatiekunst --- Great Britain --- art [discipline]

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Turner Prize winner Mark Leckey is one of the most influential contemporary artists working today. Since he came to prominence in the late 1990s, Leckey's practice has addressed the radical effect of technology on popular culture and has powerfully articulated the transition from analogue to digital culture. His work is often concerned with under-represented or overlooked aspects of British culture and explores ideas about both collective and personal history. For example, the film Fiorucci Made Me Hardcore 1999 uses sampled footage to trace dance subcultures in British nightclubs from the 1970s to the 1990s. Dream English Kid, 1964-1999 AD 2015 focuses on key episodes in his own life, constructed from "found memories" sourced primarily from the internet. This book, accompanying Leckey's first major show at Tate, combines newly commissioned writing with artist's scripts for performances, and illustrates his previous work as well as the intriguing sources of inspiration for this powerful, immersive new exhibition.

Art --- installations [visual works] --- photography [process] --- video art --- childhood --- bridges [built works] --- CGI --- sound art --- Leckey, Mark --- Art, British --- Collage --- 7.07 --- Leckey, Mark °1964 (°Birkenhead, Groot-Brittannië) --- Videokunst ; installaties --- Found footage --- Collages --- Found objects (Art) --- Handicraft --- Montage --- British art --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Leckey, Mark, --- Exhibitions --- nostalgie (kunst)

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Art --- Sculpture --- Graphic arts --- art [discipline] --- sculpting --- graphic arts --- Flanagan, Barry --- Great Britain

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Bronstein, Pablo --- Bulloch, Angela --- Byrne, Gerard --- Chaimowicz, Marc Chamille --- Chetwynd, Lali --- Fanni Tutti, Cosey --- David, Enrico --- Doig, peter --- Donachie, Kaye --- Finlay, Ian Hamilton --- Fowler, Luke --- Fullerton, Michael --- Gander, Ryan --- Gillick, Liam --- Gordon, Douglas --- Leckey, Mark --- Linder --- McKenzie, Lucy --- Martin, Daria --- Martin, Simon --- Michael, Alan --- Monk, Jonathan --- Myles, Scott --- Orr, Christopher --- The Otolith group --- Ozbolt, Djordje --- Payne Oliver --- Relph, Nick --- Plender, Olivia --- Quawson, Muzi --- Rothschild, Eva --- Sehgal, Tino --- Stezaker, John --- Warren, rebecca --- Wermers, Nicole --- Evans, Cerith Wyn --- Pieces, Theatre