![]() ![]() Show how fantastic an artist he was and how influential he continues to be. Steel, extruded polystyrene, gauze, paint and wood, sculptureĪiming to achieve with the upcoming Franz It’s great to have an area of expertise but I would caution against just sticking to that area because I think people can teach themselves new things all the time. So for instance, I came to the subject knowing a lot about a particular area of 1960s and 1970s art in America, and knew nothing about African American art of that period but I wasn’t afraid to learn for our exhibition, Soul of a Nation: Art in the Age of Black Power. ![]() Although I would also say that you should be open to learning about new fields beyond your specialism. It’s important to have a field of specialism as a curator? But it cameįrom art history and a desire to work with artists and objects. Never did a curating course I’ve kind of learnt that on the job. More than teaching at a university and so I applied for a job at the Tate. I thought that what I really wanted to do was make exhibitions with artists, The Slade School of Fine Art, where my students were artists, and I began to doĪ few little curated shows as external projects, and it was at that point that For many years I was teaching Art History at Since I was a kid I used to go to art exhibitions, and then I studied Art Us about your journey into the art world? Was curation something you’d always Thirdly, I work with artworks that are in the permanent collection, to Want to acquire and how we acquire it, working closely with patrons andĪrtists. The job is working on the collection, and that means identifying what art we Each of these projects involved thinking about how to present a story inĪ space in a way that’s compelling and beautiful to look at. Hamilton, and I’m currently working on the Franz West and Olafur Eliasson Job is made up of three parts – I curate major temporary exhibitions, and I’veīeen doing this for about 11 years now I’ve done exhibitions with Roni Horn, FrancisĪlÿs, Gerhard Richter, Sigmar Polke, Alighiero Boetti, and more recently Richard Something Curated: Could you give us some insight into your responsibilities as Senior Curator, International Art (Europe and the Americas) at Tate Modern? Mark Godfrey | © Tate (Photo: Oliver Cowling) In the run up to the show’s opening, Godfrey, who has been responsible for curating a number of the Tate’s most popular shows over the past decade, spoke with Something Curated. Opening tomorrow, 20 February, and running until 2 June 2019, at Tate Modern, Franz West, a major retrospective curated by Mark Godfrey, comprises almost 200 works including abstract sculptures, furniture, collages and monumental outdoor pieces. ![]() Born in Vienna, West collaborated with numerous artists, musicians, writers and photographers throughout his career. His abstract sculptures, furniture, collages and large-scale works are direct and unpretentious. West's intention is playful and rejecting in its sense of the sublime and monumental in 20th century sculpture, drawing and blurring the boundary between art and bodily experience.Franz West brought a defiant vision into the pristine spaces of art galleries. They create a displacement from the usual interaction with sculpture and condensate our approximation to their personalities which we explore and become subtly more intrigued after investigating their obscure bodies. At the exhibition, West place furniture around his sculptures for the public to use and sit on, thus creating an inter-personal space with the figures exploring and creating a relationship to the environmental setting. Originally exhibited in the Displacement and Condensation exhibition at Gagosian, the two larvae shapes were meant to do exactly that within our perception. They exist in a world of their own morphing and trying to fit into our cognizance but inviting us to use them, touch them and giving them a function. ![]() We are at first sight seduced by their shapes and openings, perplexed by their connotation and uncertain of their provenance. In Larvae from 2004, two biomorphic and prosthetic forms take the shape of sculptures which mine toward the intellectualism of Freud, subversively psychological in their shapes yet nutritious, full of vim with concealed undertones that take these conceptual casts into a mysterious abstraction. His earliest sculptures, performances, and collages were a reaction to this movement, in which artists engaged in displays of radical public behavior and physical endurance meant to shake up art-world passivity. Franz West's career began in the midst of the local Austrian movement known as ‘Actionism' during the mid-1960's. ![]()
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