Your search:
272 result(s) in 0.04 s
-
DUKAS_176060495_EYE
South Korean born artist Mire LeeSouth Korean born artist Mire Lee
South Korean born artist Mire Lee pictured at Tate Modern, London, UK.
Mire Lee to be next Hyundai Commission artist for Tate Modern's Turbine Hall.
Mire Lee is known for her visceral sculptures which use kinetic, mechanised elements to invoke the tension between soft forms and rigid systems. Her new site-specific work for the Turbine Hall will be open to the public from 8 October 2024 to 16 March 2025. This will be the first major presentation of Lee’s work in the UK.
13 September 2024
© Rii Schroer / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
Rii Schroer / eyevine -
DUKAS_176060509_EYE
South Korean born artist Mire LeeSouth Korean born artist Mire Lee
South Korean born artist Mire Lee pictured at Tate Modern, London, UK.
Mire Lee to be next Hyundai Commission artist for Tate Modern's Turbine Hall.
Mire Lee is known for her visceral sculptures which use kinetic, mechanised elements to invoke the tension between soft forms and rigid systems. Her new site-specific work for the Turbine Hall will be open to the public from 8 October 2024 to 16 March 2025. This will be the first major presentation of Lee’s work in the UK.
13 September 2024
© Rii Schroer / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
Rii Schroer / eyevine -
DUKAS_176060496_EYE
South Korean born artist Mire LeeSouth Korean born artist Mire Lee
South Korean born artist Mire Lee pictured at Tate Modern, London, UK.
Mire Lee to be next Hyundai Commission artist for Tate Modern's Turbine Hall.
Mire Lee is known for her visceral sculptures which use kinetic, mechanised elements to invoke the tension between soft forms and rigid systems. Her new site-specific work for the Turbine Hall will be open to the public from 8 October 2024 to 16 March 2025. This will be the first major presentation of Lee’s work in the UK.
13 September 2024
© Rii Schroer / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
Rii Schroer / eyevine -
DUKAS_176060508_EYE
South Korean born artist Mire LeeSouth Korean born artist Mire Lee
South Korean born artist Mire Lee pictured at Tate Modern, London, UK.
Mire Lee to be next Hyundai Commission artist for Tate Modern's Turbine Hall.
Mire Lee is known for her visceral sculptures which use kinetic, mechanised elements to invoke the tension between soft forms and rigid systems. Her new site-specific work for the Turbine Hall will be open to the public from 8 October 2024 to 16 March 2025. This will be the first major presentation of Lee’s work in the UK.
13 September 2024
© Rii Schroer / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
Rii Schroer / eyevine -
DUKAS_176060503_EYE
South Korean born artist Mire LeeSouth Korean born artist Mire Lee
South Korean born artist Mire Lee pictured at Tate Modern, London, UK.
Mire Lee to be next Hyundai Commission artist for Tate Modern's Turbine Hall.
Mire Lee is known for her visceral sculptures which use kinetic, mechanised elements to invoke the tension between soft forms and rigid systems. Her new site-specific work for the Turbine Hall will be open to the public from 8 October 2024 to 16 March 2025. This will be the first major presentation of Lee’s work in the UK.
13 September 2024
© Rii Schroer / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
Rii Schroer / eyevine -
DUKAS_176060497_EYE
South Korean born artist Mire LeeSouth Korean born artist Mire Lee
South Korean born artist Mire Lee pictured at Tate Modern, London, UK.
Mire Lee to be next Hyundai Commission artist for Tate Modern's Turbine Hall.
Mire Lee is known for her visceral sculptures which use kinetic, mechanised elements to invoke the tension between soft forms and rigid systems. Her new site-specific work for the Turbine Hall will be open to the public from 8 October 2024 to 16 March 2025. This will be the first major presentation of Lee’s work in the UK.
13 September 2024
© Rii Schroer / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
Rii Schroer / eyevine -
DUKAS_176060510_EYE
South Korean born artist Mire LeeSouth Korean born artist Mire Lee
South Korean born artist Mire Lee pictured at Tate Modern, London, UK.
Mire Lee to be next Hyundai Commission artist for Tate Modern's Turbine Hall.
Mire Lee is known for her visceral sculptures which use kinetic, mechanised elements to invoke the tension between soft forms and rigid systems. Her new site-specific work for the Turbine Hall will be open to the public from 8 October 2024 to 16 March 2025. This will be the first major presentation of Lee’s work in the UK.
13 September 2024
© Rii Schroer / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
Rii Schroer / eyevine -
DUKAS_176060507_EYE
South Korean born artist Mire LeeSouth Korean born artist Mire Lee
South Korean born artist Mire Lee pictured at Tate Modern, London, UK.
Mire Lee to be next Hyundai Commission artist for Tate Modern's Turbine Hall.
Mire Lee is known for her visceral sculptures which use kinetic, mechanised elements to invoke the tension between soft forms and rigid systems. Her new site-specific work for the Turbine Hall will be open to the public from 8 October 2024 to 16 March 2025. This will be the first major presentation of Lee’s work in the UK.
13 September 2024
© Rii Schroer / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
Rii Schroer / eyevine -
DUKAS_176060501_EYE
South Korean born artist Mire LeeSouth Korean born artist Mire Lee
South Korean born artist Mire Lee pictured at Tate Modern, London, UK.
Mire Lee to be next Hyundai Commission artist for Tate Modern's Turbine Hall.
Mire Lee is known for her visceral sculptures which use kinetic, mechanised elements to invoke the tension between soft forms and rigid systems. Her new site-specific work for the Turbine Hall will be open to the public from 8 October 2024 to 16 March 2025. This will be the first major presentation of Lee’s work in the UK.
13 September 2024
© Rii Schroer / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
Rii Schroer / eyevine -
DUKAS_181682587_EYE
How women are outperfoming men in Africa’s art market
In 2024, the top five highest-priced sales of African art were all by women, according to research, reflecting increased recognition and demand for their work.
Zanele Muholi (b.1972), with their work at Tate Modern. Muholi came to prominence in the early 2000s with photographs that told the stories of Black lesbian, gay, bisexual, trans, queer and intersex lives in South Africa. Over 340 photographs are brought together to present the breadth of Muholi’s career to date, from their very first body of work to their latest and on-going series. These images challenge dominant ideologies and present the participants in their photographs as empowered individuals superbly existing in the face of prejudice, intolerance and often violence. London, UK. 4/6/24.
David Levene / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© David Levene 2024 -
DUKAS_181682589_EYE
How women are outperfoming men in Africa’s art market
In 2024, the top five highest-priced sales of African art were all by women, according to research, reflecting increased recognition and demand for their work.
Zanele Muholi (b.1972), with their work, Muholi IV (2023), at Tate Modern. Muholi came to prominence in the early 2000s with photographs that told the stories of Black lesbian, gay, bisexual, trans, queer and intersex lives in South Africa. Over 340 photographs are brought together to present the breadth of Muholi’s career to date, from their very first body of work to their latest and on-going series. These images challenge dominant ideologies and present the participants in their photographs as empowered individuals superbly existing in the face of prejudice, intolerance and often violence. London, UK. 4/6/24.
David Levene / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© David Levene 2024 -
DUKAS_181682586_EYE
How women are outperfoming men in Africa’s art market
In 2024, the top five highest-priced sales of African art were all by women, according to research, reflecting increased recognition and demand for their work.
Zanele Muholi (b.1972), with their work, Muholi IV (2023), at Tate Modern. Muholi came to prominence in the early 2000s with photographs that told the stories of Black lesbian, gay, bisexual, trans, queer and intersex lives in South Africa. Over 340 photographs are brought together to present the breadth of Muholi’s career to date, from their very first body of work to their latest and on-going series. These images challenge dominant ideologies and present the participants in their photographs as empowered individuals superbly existing in the face of prejudice, intolerance and often violence. London, UK. 4/6/24.
David Levene / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© David Levene 2024 -
DUKAS_181682593_EYE
How women are outperfoming men in Africa’s art market
In 2024, the top five highest-priced sales of African art were all by women, according to research, reflecting increased recognition and demand for their work.
Zanele Muholi (b.1972), with their work, Manzi I, West Coast, Cape Town (2021), at Tate Modern. Muholi came to prominence in the early 2000s with photographs that told the stories of Black lesbian, gay, bisexual, trans, queer and intersex lives in South Africa. Over 340 photographs are brought together to present the breadth of Muholi’s career to date, from their very first body of work to their latest and on-going series. These images challenge dominant ideologies and present the participants in their photographs as empowered individuals superbly existing in the face of prejudice, intolerance and often violence. London, UK. 4/6/24.
David Levene / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© David Levene 2024 -
DUKAS_181682591_EYE
How women are outperfoming men in Africa’s art market
In 2024, the top five highest-priced sales of African art were all by women, according to research, reflecting increased recognition and demand for their work.
Zanele Muholi (b.1972), with their work, Manzi I, West Coast, Cape Town (2021), at Tate Modern. Muholi came to prominence in the early 2000s with photographs that told the stories of Black lesbian, gay, bisexual, trans, queer and intersex lives in South Africa. Over 340 photographs are brought together to present the breadth of Muholi’s career to date, from their very first body of work to their latest and on-going series. These images challenge dominant ideologies and present the participants in their photographs as empowered individuals superbly existing in the face of prejudice, intolerance and often violence. London, UK. 4/6/24.
David Levene / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© David Levene 2024 -
DUKAS_169839284_EYE
'Englishness with an Italian accent': Gucci returns to its London roots
Star-studded show at Tate Modern honours British origins of the Italian fashion house.
Gucci host a star studded fashion show at London's Tate Modern this evening.
London, UK. May 2024.
Graeme Robertson / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
G ROBERTSON LTD -
DUKAS_169839285_EYE
'Englishness with an Italian accent': Gucci returns to its London roots
Star-studded show at Tate Modern honours British origins of the Italian fashion house.
Gucci host a star studded fashion show at London's Tate Modern this evening.
London, UK. May 2024.
Graeme Robertson / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
G ROBERTSON LTD -
DUKAS_169839282_EYE
'Englishness with an Italian accent': Gucci returns to its London roots
Star-studded show at Tate Modern honours British origins of the Italian fashion house.
Gucci host a star studded fashion show at London's Tate Modern this evening.
London, UK. May 2024.
Graeme Robertson / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
G ROBERTSON LTD -
DUKAS_169839283_EYE
'Englishness with an Italian accent': Gucci returns to its London roots
Star-studded show at Tate Modern honours British origins of the Italian fashion house.
Gucci host a star studded fashion show at London's Tate Modern this evening.
London, UK. May 2024.
Graeme Robertson / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
G ROBERTSON LTD -
DUKAS_161451556_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451581_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451584_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451583_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451585_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451582_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451551_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451553_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451555_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451554_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451550_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451578_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451552_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451575_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451577_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451549_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451574_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451572_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451571_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451570_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451579_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451557_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_148159028_EYE
Snowy London
SNOW LONDON - Members of the public in the snow on the Millennium bridge in central London this morning 12/12/2022
© Jeff Moore / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http:///www.eyevine.com (FOTO: DUKAS/EYEVINE)
© Jeff Moore / eyevine -
DUKAS_145213767_EYE
Brain Forest Quipu by artist Cecilia Vicuña at Tate Modern, UK.
Two enormous "spiderwebs" studded with bones and shards of pottery salvaged from the Thames by mudlarkers installed in Tate Modern.
First look at Tate Modern's latest Turbine Hall commission as Chilean artist, poet, and activist Cecilia Vicuña follows in footsteps of likes of Ai Weiwei, Olafur Eliasson and Doris Salcedo.
Artist Cecilia Vicuña pictured among here work at Tate Modern, Southbank.
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_145213763_EYE
Brain Forest Quipu by artist Cecilia Vicuña at Tate Modern, UK.
Two enormous "spiderwebs" studded with bones and shards of pottery salvaged from the Thames by mudlarkers installed in Tate Modern.
First look at Tate Modern's latest Turbine Hall commission as Chilean artist, poet, and activist Cecilia Vicuña follows in footsteps of likes of Ai Weiwei, Olafur Eliasson and Doris Salcedo.
Artist Cecilia Vicuña pictured among here work at Tate Modern, Southbank.
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_130191406_EYE
Jellyfish-like machines fly high at the Tate Modern in latest Turbine Hall commission
Jade Simmonds and her son Kingston (2) admire 18 battery powered aerobes. The Hyundai Commission for Tate Modern Turbine Hall by Anicka Yi at Tate Modern, Southbank.
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_130191390_EYE
Jellyfish-like machines fly high at the Tate Modern in latest Turbine Hall commission
A general view showing Hyundai Commission for Tate Modern Turbine Hall by Anicka Yi at Tate Modern, Southbank.
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_130191389_EYE
Jellyfish-like machines fly high at the Tate Modern in latest Turbine Hall commission
Visitors admire one of eighteen battery powered aerobes. The Hyundai Commission for Tate Modern Turbine Hall by Anicka Yi at Tate Modern, Southbank.
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_130191388_EYE
Jellyfish-like machines fly high at the Tate Modern in latest Turbine Hall commission
Several of eighteen battery powered aerobes. The Hyundai Commission for Tate Modern Turbine Hall by Anicka Yi at Tate Modern, Southbank.
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_130191387_EYE
Jellyfish-like machines fly high at the Tate Modern in latest Turbine Hall commission
One of eighteen battery powered aerobes. The Hyundai Commission for Tate Modern Turbine Hall by Anicka Yi at Tate Modern, Southbank.
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_130191386_EYE
Jellyfish-like machines fly high at the Tate Modern in latest Turbine Hall commission
A visitor admires two of eighteen battery powered aerobes. The Hyundai Commission for Tate Modern Turbine Hall by Anicka Yi at Tate Modern, Southbank.
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_130191385_EYE
Jellyfish-like machines fly high at the Tate Modern in latest Turbine Hall commission
One of eighteen battery powered aerobesyundai Commission for Tate Modern Turbine Hall by Anicka Yi at Tate Modern, Southbank.
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
