(Art) – The Tate Modern is one of the four museums in London named after Henry Tate, an industrialist who in 1889 offered his collection of British art to the United Kingdom. In 1994, a former Bankside Power Station was converted into the Tate Modern by swiss architects Herzog & De Meuron, a house for international modern and contemporary art.
In 2009, Tate modern was renovated and is considered one of the most interesting museums in the world, and a hub for amazing displays of innovation in all varieties of art.
Here are three works of art where color is emphasized and questioned, from artists Maria Lalic, Olafur Eliasson, and Josef Albers. This is a current, 2016 exhibit curated by Ann Coxon with Tate Learning.
History Painting 8 Egyptian. Orpiment 1995
History Painting 8 Egyptian. Orpiment is one of a series of fifty-three works by the British artist Maria Lalic, which are collectively titled History Paintings and were made between 1995 and 2004. Six works from this series, all dating from 1995, are held in the Tate collection (the others are History Painting 14 Greek. Massicot 1995, Tate T07289; History Painting 17 Italian. Naples Yellow 1995, Tate T07290; History Painting 35 C18/19th. Cadmium Yellow 1995, Tate T07291; History Painting 42 C20th. Winsor Yellow 1995,T07292; History Painting 2 Cave. Yellow Earth 1995, Tate T07287). The works in this series are all paintings on canvas, comprising multiple thin ‘glazes’ of paint that have been layered over one another and evenly applied across the whole support. The paintings initially look like monochromes, but upon further inspection other paint layers beneath the surface become visible. Since the canvases’ outer edges are entirely unpainted, the built-up layers can also be seen when the painting is viewed from the side. All of the History Paintings feature smooth but visible brushstrokes, oriented horizontally across the canvas.
Yellow versus Purple 2003
Installed in a darkened room, Yellow versus Purple 2003 comprises a transparent yellow disc of colour-effect glass (750 mm in diameter), which is suspended from a steel cable linked to a motor attached to the ceiling, and a floodlight mounted on a tripod that shines a wide beam of light directly at the disc and onto a white wall behind. The disc and the floodlight are both positioned 140 cm off the floor so that as the light passes through the glass it creates a yellow shadow on the wall behind that changes shape, from a circle to an ellipse and back again, as the disc rotates. At the same time, the particular properties of the glass also serve to reflect the light, producing a purple form that moves along the walls of the room as though orbiting the space. Like the yellow shadow, this purple light changes shape in accordance with the angle of the disc, but it also changes size depending on the distance between the disc and the wall. Viewers are able to walk through the installation so that the shapes and colours cover their bodies. The choice of colours for Yellow versus Purple, and the title’s playful suggestion of competition between them, reflects the fact that they occupy opposite positions on a colour wheel.
Study for Homage to the Square: Beaming 1963
Study for Homage to the Square: Beaming is an oil painting on fibreboard by the German artist Josef Albers. The painting shows a series of three quasi-concentric squares in varying shades of blue. The largest square is painted in bright blue and stretches to the outmost edges of the fibreboard. This large square contains within it a smaller blue painted square, darker and more muted in tone. This, in turn, contains a much smaller blue-green painted square. Set inside one another, these quasi-concentric squares seem to drift towards the bottom edge of the painting.
Source: Tate Modern, 2016.
Curated by Lupita Peimbert – publisher of Lupitanews.com
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International modern and contemporary art museum.
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