Art in Print
Wolfgang Tillmans: 'I was hit by a realisation – all I believed in was threatened'
The first retrospective of German contemporary artist Wolfgang Tillmans is to open at Tate Modern this week. Set to showcase the largest selection of works by the artist to date, Wolfgang Tillmans: 2017 can be considered as an insight into the artist's outlook on reality as opposed to a display depicting the chronology of his artistic development. Tillmans, born in Remscheid, an industrial town near Cologne, moved to study art in Bournemouth in 1990 and has spent the majority of his life between London and Berlin; photographing primarily in analogue, he embraced digital formats in 2013, and it is the body of work produced since this digital transition that the exhibition will focus on. The show will feature a range of abstract, landscape and still life photographs, portraits offering a glimpse into the youth culture of the 1990s and "truth study centres", i.e. displays of contradicting newspaper cuttings commenting on the bias of media, coupled with a range of experimental performances in The Tanks exploring the artist's recently revisited experimentation with music. Wolfgang Tillmans: 2017 is on view from 15 February to 11 June.
In New York, Turner’s Ports—and a Debut
Three paintings by the famous land- and seascape artist Joseph Mallord William Turner that have never reached the public eye in a single display are to go on show as part of the Turner’s Modern and Ancient Ports: Passages through Time exhibition at the Frick Collection. Two of the paintings, Harbor of Dieppe (1825) and Cologne, The Arrival of a Packet-Boat: Evening (1826) have already been part of the Frick Collection and have never been exhibited together outside the museum in New York; the pieces will be joined by The Harbor of Brest: The Quayside and Château (1826-1828) from Tate Britain. Painting conservator Rebecca Hellen's in-depth technical analysis of the pieces indicates that Turner worked on the paintings with an intention of the artworks reaching the collector John Broadhurst as a trio, however, as exhibition co-curator Susan Galassi suggests, while working on the third and final painting picturing the scene of the Brest Harbour, Boradhurst sold his collection for reasons remaining unknown. Reunion of the three paintings has granted insights into the rare painting technique empoyed by Turner.
Turner’s Modern and Ancient Ports: Passages through Time is on show from 23 February to 14 May.
Via: Wall Street Journal
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