ARTIST ROOMS: Art and Text

Bruce Nauman, Partial Truth  1997

Partial Truth comprises a rectangular slab of polished black granite into which have been carved the words ‘PARTIAL TRUTH’ over two lines in the Roman-style lettering scriptura monumentalis. While the word ‘PARTIAL’ is centrally aligned on the upper register, the word ‘TRUTH’ below is indented slightly to the right of centre. The inscribed letters are a lighter colour than the polished surface of the slab so that they stand out against the black. The artist has specified that the sculpture may be displayed directly on the floor, propped up against a wall, or placed on a gilded shelf. When installed on the floor the slab is placed on a shallow wooden plinth, with the letters pointing up to the ceiling, so that a shadow is cast underneath the slab making it appear as though it is floating just above the floor. On the reverse side, ‘Bruce Nauman’ has been inscribed into the stone using a machine, accompanied by the stone-maker’s mark ‘Gemini GEL’ and a symbol comprising the letter U within a small circle. The reverse left corner has been inscribed BN97-2181 5/25, indicating that this work is number five of an edition of twenty-five.

Louise Bourgeois, I Am Afraid  2009

I Am Afraid is a fabric work by the French-born American artist Louise Bourgeois featuring lines of text woven into canvas. Short statements and individual words in upper case are woven in grey thread into the grey-beige fabric and are grouped into four stanzas. Both the first and the third stanza contain five lines of text; the second stanza contains three lines; and the fourth stanza contains two lines. The text reads:

Mario Merz, Che Fare?  1968–73

Che Fare? consists of a two-handled oblong aluminium tub filled with yellow beeswax, on top of which is a light blue neon sign that reads ‘che fare?’. These words are written in a script modelled on the artist’s own handwriting, which has a continuous flow that makes the two words almost appear as one. A white electrical wire on the left handle of the tub attaches the work to a power supply. There are several versions of this work, another of which is held at the GAM-Galleria Civica d’Arte Moderna e Contemporanea in Turin.

Edward Ruscha, DAILY PLANET  2003

The source for the text in DAILY PLANET is deliberately hard to pin down. It might connect with the natural imagery behind it. It is also the name of the newspaper Clark Kent writes for in the Superman comics. Ruscha has described the work’s title as ‘mysterious and teasing’. In an interview he claimed, ‘I’m empty headed in many ways, and don’t know why I follow what I follow. Like most people, I operate on an automatic mode, and everything is an involuntary reflex. Logic flies out of the window when you’re making a picture, at least it does with me. And thank God it does.’

Gallery label, July 2019

Richard Long CBE, In the Cloud  1991

In the Cloud is a large framed text work, printed on off-white paper. The title words ‘IN THE CLOUD’ are printed in red capital letters in Gill Sans typeface. Below is a text printed in black capitals in the same font:

Andy Warhol, Hamburger  1985–6

Hamburger is a duplicated image of an advertisement, silkscreened in black onto canvas with a white background. In this high contrast reproduction the original image has been simplified to the extent that most of the detail has been lost and only the black outline remains. The central line of text exclaims ‘HAMBURGER’ in capital letters, with the words ‘Wholesome’ and ‘Delicious’ in smaller text beneath, with no reference to a particular brand name. Warhol doubled the image to form a diptych, which has then been set within one frame to make a single work. The light coloured background and black ink mark a departure from the bold colours of Warhol’s earlier prints.

Douglas Gordon, I am the curator of my own misery.  2010

Ellen Gallagher, Esirn Coaler  2007

Esirn Coaler demonstrates the complex technique of layering that characterises much of Ellen Gallagher’s work. It is a wall-hanging relief comprising strips of dark grey and black plasticine packed into a rectangular block supported on an aluminium base. The strips are of uniform dimensions and organised in a rectilinear pattern resembling uneven parquet flooring. The plasticine strips have been overlaid with raised text in diverse fonts, cut from sheets of dark grey or black plasticine of various thicknesses. The name ‘Esirn Coaler’ dominates the upper part of the composition. At the centre is the slogan: ‘Fast Relief from Pain’. Other words and phrases have medical connotations, such as ‘corns’, ‘callouses’ and ‘bunions’.

Jenny Holzer, YOU ENEMY  2017

This is one of a group of four benches in Tate’s collection by Jenny Holzer (see Tate AR01268–AR01271). They are made of Rosso Francia marble and the seat of each one is engraved with a line of text, which has been sandblasted into its highly polished surface. These texts are excerpts of poems by the Polish author Anna Świrszczyńska, who wrote about her experiences as a member of the Polish Resistance and volunteer nurse during the Second World War. The engravings are taken from the English translation of Building the Barricade (Budowałam Barykadȩ), her collection of 100 poems, first published in 1974 and translated into English in 2016, which describes Świrszczyńska’s memories of survival during the German occupation of Warsaw in 1944, offering a clear and at times brutal view of state violence and the atrocities of war. The text carved into YOU ENEMY reads ‘A Soldier Says’. Holzer’s use of marble memorialises the poet’s words and the enduring power of language, giving the lie to the idea that beauty and human cultural achievement are separable from civilisation’s darker, base actions. The lavish benches embody this paradox. They can be displayed individually, in pairs or as a group.

Jenny Holzer, I PLACED MY FEET  2017

This is one of a group of four benches in Tate’s collection by Jenny Holzer (see Tate AR01268–AR01271). They are made of Rosso Francia marble and the seat of each one is engraved with a line of text, which has been sandblasted into its highly polished surface. These texts are excerpts of poems by the Polish author Anna Świrszczyńska, who wrote about her experiences as a member of the Polish Resistance and volunteer nurse during the Second World War. The engravings are taken from the English translation of Building the Barricade (Budowałam Barykadȩ), her collection of 100 poems, first published in 1974 and translated into English in 2016, which describes Świrszczyńska’s memories of survival during the German occupation of Warsaw in 1944, offering a clear and at times brutal view of state violence and the atrocities of war. The text carved into I PLACED MY FEET reads ‘A Hospital’. Holzer’s use of marble memorialises the poet’s words and the enduring power of language, giving the lie to the idea that beauty and human cultural achievement are separable from civilisation’s darker, base actions. The lavish benches embody this paradox. They can be displayed individually, in pairs or as a group.

Jenny Holzer, THEY’RE BREATHING  2017

This is one of a group of four benches in Tate’s collection by Jenny Holzer (see Tate AR01268–AR01271). They are made of Rosso Francia marble and the seat of each one is engraved with a line of text, which has been sandblasted into its highly polished surface. These texts are excerpts of poems by the Polish author Anna Świrszczyńska, who wrote about her experiences as a member of the Polish Resistance and volunteer nurse during the Second World War. The engravings are taken from the English translation of Building the Barricade (Budowałam Barykadȩ), her collection of 100 poems, first published in 1974 and translated into English in 2016, which describes Świrszczyńska’s memories of survival during the German occupation of Warsaw in 1944, offering a clear and at times brutal view of state violence and the atrocities of war. The text carved into THEY’RE BREATHING reads ‘Air Raid’. Holzer’s use of marble memorialises the poet’s words and the enduring power of language, giving the lie to the idea that beauty and human cultural achievement are separable from civilisation’s darker, base actions. The lavish benches embody this paradox. They can be displayed individually, in pairs or as a group.

Jenny Holzer, THE BEAUTY WORSHIPPED  2017

This is one of a group of four benches in Tate’s collection by Jenny Holzer (see Tate AR01268–AR01271). They are made of Rosso Francia marble and the seat of each one is engraved with a line of text, which has been sandblasted into its highly polished surface. These texts are excerpts of poems by the Polish author Anna Świrszczyńska, who wrote about her experiences as a member of the Polish Resistance and volunteer nurse during the Second World War. The engravings are taken from the English translation of Building the Barricade (Budowałam Barykadȩ), her collection of 100 poems, first published in 1974 and translated into English in 2016, which describes Świrszczyńska’s memories of survival during the German occupation of Warsaw in 1944, offering a clear and at times brutal view of state violence and the atrocities of war. The text carved into THE BEAUTY WORSHIPPED reads ‘Beauty Dies’. Holzer’s use of marble memorialises the poet’s words and the enduring power of language, giving the lie to the idea that beauty and human cultural achievement are separable from civilisation’s darker, base actions. The lavish benches embody this paradox. They can be displayed individually, in pairs or as a group.