The Tate Modern galery in London and its recent exhibition

Result #1

The Tate Modern galery in London and its recent exhibition of works by the British artists of the 60s, The Pines, was dominated by work by the likes of Peter Hopkins, Peter Halley, and Robert Smithson. The Pines was also the first exhibition in England devoted to the work of the artists of the 60s, and it was the first of a new series of three events in the exhibition that were to be held at the same venue as the exhibition.The Pines began in 1966 with the opening of a new collection of Smithson paintings by the artist. Smithson, who died in 1964 at the age of forty-three, is remembered as one of the most important figures in the development of post-Minimalist painting. He was a master of the atmosphere of figuration, the formal economy of which in the 60s had been developed to the point where it was no longer possible to let one foot off the floor. Smithson, who worked with a highly personal vocabulary of elements, found the most immediate and direct form of expression in the incorporation of his own ideas into his work. He used the thin-walled box as a key element in the pictorial development of his work, and his paintings of the early 60s are often identified with this approach to form. In addition to the early paintings, Smithson also worked on the ground-up, which he called the double-boxed canvas, a similar method of painting. The double-boxed canvas, as it was developed by Smithson, was originally a canvas-in-canvas that was then finished, and then left to rest for two years before being moved to a warehouse for storage. The first of the two groups of Smithson paintings that were shown in 1966, were of Smithson double-boxed canvases, the second, Smithson double-boxed canvases.The shows history is one of the development of Smithson form.

Result #2

The Tate Modern galery in London and its recent exhibition of Dr. W. M. Selzs (1880–1965) remains an important, if controversial, element of contemporary art. Selz was the first great American architect to understand the importance of the modernist idea of the podium. Selzs idea of a podium, in fact, was the most important building block for American modernist architecture. He advocated the podium as a means to achieve architectural and social stability, to guarantee the rights and the dignity of the individual and to assure the security of the community.Selzs vision of a podium could not be undermined by the competing ideologies of Modernism, Pop Art, and Cubism. Selz was a radical in the early 70s, but his vision was dominated by the simple architectural ideals he championed. His dream of a podium was a utopian dream that would embody the ideal of the American ideal, an ideal that would, in Selzs words, be the last great national building. In the 80s, he argued that the structure of the American republic could be seen as a two-dimensional pyramid. The modernist podium, Selz claimed, was an image of the structure of the republic; it was a universal symbol. The modernist podium was the ultimate neutral, safe, and secure building, like the mansion of the United States. Its purpose was to provide a secure foundation for all those who wished to remain in the country; to assure the stability of the nation. The modernist podium was the most perfect and necessary building, and the ideal of American democracy.But Selzs vision of a podium was a lie. The structure of the American republic was not a house, but rather an army of podiums. A podium, as he had argued, was a perfect palace—a monument to the state. The podiums did not merely serve the common good; they were for the elite.

Result #3

The Tate Modern galery in London and its recent exhibition of eight pieces by the British artist, called Guts and Bones: A World View, were in the middle of the exhibition and were now being shut down. Now the galleries, under the leadership of new director of the Royal College of Art, the Walter and Joanna Wright, have announced that the galleries are back in business.The exhibition included a number of works by the British artist, who gained his international reputation through his participation in the 1980s, when he had a stint in Geneva, Switzerland. Guts and Bones is a major retrospective of his work, with several important pieces by each of the five artists involved: Helen Glover, Claude Cahun, Charles Clement, Robert Irwin and Patrick McKay. Several pieces from the first group of works by Cahun, in particular the series of large, colorful, torn-off-size sculptures, are shown in the exhibition. In each, a different coloration, usually a muted orange or red, is applied to the surfaces in a variety of styles. This varied coloration is frequently used to highlight the contours of the body and to emphasize the way the skin is torn. The sculptural form is in fact an act of artmaking, in that Cahun made the sculpture by cutting into the skin of the skin of the skin, and the skin is formed by cutting into the skin of the body. In the earlier pieces, the skin was drawn back so that the sculptural shape would be completely visible. In the Guts and Bones, the skin was drawn back, almost fully showing, and the coloration of the skin was often intentionally over-pitted in this way. The form is also a social one, with the artists body being an object, an object of beauty, and an object of pleasure. Cuts, scratches and other signs of pain are apparent in the large sculptures, and in the drawings, which tend to be more abstract than the sculptures.

Result #4

The Tate Modern galery in London and its recent exhibition of six pieces by Tadeusz Pazuzu, a Polish photographer who traveled to the United States in the 60s, is the first museum retrospective of Pazuzu since 1975. The show, curated by Caroline Goodmans, included some 90 works and included a few pieces from the past few years.The show, which included work by all of Pazuzu's subjects, was meant to be a snapshot of the period in which he was working, a view into the contemporary world of the photographer and of the contemporary subject. The exhibition included a number of key Pazuzu images, most of them from the early 80s. A series of color photographs of a crowd of people dancing and a close-up of a woman dressed as a fisherman, among others, were among the earliest works in the exhibition. In this period, Pazuzu joined a group of photographers who had studied with Walter Benjamins. In fact, Pazuzus work had been influenced by the new approach to photography by Benjamin, the father of Modernism, and his friend and fellow photographer Piotr Kowalski. These were the first of the new photographers to turn to photography, and Pazuzu himself has often been compared to the latter.Pazuzus work, which he had been developing since the mid-80s, was based on the idea of the landscape as a world of active, moving forms. At the same time, he explored the range of objects, objects, and situations that were at hand: the city, the landscape, and nature itself. In his landscapes, the power of form over time is seen in the subtle effects of light. In his works on paper, the possibilities of form were explored through the study of light and its manipulation, of colors and gradations. In his sculptures, the artist frequently worked with or surrounded surfaces that were not always free of visual and material elements.

Result #5

The Tate Modern galery in London and its recent exhibition of three hundred objects from the collection of the Mint, which the Royal Mint acquired in 2002, will be next on the itinerary. The first is a consortium of twenty-six works by the famous Scottish architect Robert Morris, which the Royal Mint bought in 1971. Together, the works are among the most important of the 19th- and 20th-century British architectworks that developed in the United Kingdom. They include the most important examples of the work of Edward Hickson, the finest example of which is The Book of Knowledge, 1911, which made use of the central motif of both Hickson and St. John the Baptist, the architect and Presbyterian architect of the period, who was the subject of a major work of art in the Mints collection. In the later Hickson, the work of art itself becomes a central motif. On a suite of panels, The Book of Knowledge, 1911, a pair of hands stands in a tiled room illuminated by pale blue light. Each hand is painted on a dark-blue background. The head of the first hand is made from a large, solid block of clay that the artist has carved into a cylinder. The second hand has the same clay, but a small, transparent figure has been cut from the same block. These hands are made of pure white marble, which provides the contrast to the dark-blue base. The marble is a deeply seated form, and the figures, with their transparent bodies, recall the shape of the hands of a dead saint. The sculptors hands are arranged in two columns, which are supported by a white-walled, rectangular wooden structure. The columns and their frames have been polished to look like polished marble, and the surfaces are finished in a dark, gilded finish. The muted tones of the dark-blue marble, and the soft, delicate, almost translucent nature of the surface of the marble, lend a beautiful, fragile, organic quality to the figures.