Tacita Dean: The Dante Project · One Hundred and Fifty Years of Painting · Pan Amicus · Significant Form · Monet Hates Me
The Dante Project · One Hundred and Fifty Years of Painting · Pan Amicus · Significant Form · Monet Hates Me
7 September - 23 October 2021
Marian Goodman Presents
Tacita Dean On "Pan Amicus"
Tacita Dean in Conversation with Jim Cuno of The Getty, Los Angeles
Tacita Dean discusses her new 16mm film, which was commissioned by the Getty Center, Los Angeles, where Dean was in residency from 2014-2015.
Marian Goodman Gallery is very pleased to announce that our Fall season will open with an exhibition of new works by Tacita Dean. The show will include a range of works in multiple mediums, including photogravure, large-scale photographs, silkscreen prints, two new 16mm films, slate drawings and a new box edition, nearly all inspired from her time living in Los Angeles, from 2014 to the present.
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The exhibition unfolds around a new body of work made in association with ‘The Dante Project,’ commissioned by The Royal Opera House in London to create new designs for The Royal Ballet, which will premiere in October 2021. Centered on Dante’s Divine Comedy, with new music by Thomas Adès and choreography by Wayne McGregor, the ballet is structured in three parts: Inferno; Purgatorio; and Paradiso. Dean represents these three realms of Dante’s journey in an inspired odyssey through various mediums and means of representation, with works that move from drawing to photography and film; from negative to positive, representation to abstraction, and monochrome to color.
A parallel journey begins in the North Gallery with a new large-scale photogravure in eight parts, Inferno (2021). Produced by Niels Borch Jensen, it exists in dialogue with the monumental 40-foot blackboard by the same title which served as the master for the backdrop of Inferno (and will be shown concurrently in the Paul Hamlyn Hall at The Royal Opera House). Inferno’s photogravure re-creates an ‘upside down cold place’ through an aesthetic of reversals and opposites. Using collaged elements for the first time, including black dots to represent the figures of Dante and Virgil as they progress through the circles, Dean signifies upper and lower realms through positives and negatives, blacks and whites, disrupting a received spectrum of perdition—ranging from Botticelli to Blake—with a cool monochrome underworld.
Purgatory, the middle state, is depicted here as a transitional state between negative and positive, a concept developed in the five striking large photographs on view, each scaled in proportion to their original subject: jacaranda trees in Los Angeles. Beginning with large negatives of each tree, Dean created internegatives in order to reverse each into a photographic print, with violet blooms transforming into an otherworldly green. This strange intermediary state is accentuated by the artist’s meticulous hand-coloring in around the trees with white crayon.
A series of 10 handmade 15-color silkscreen prints represent Paradise through spheres and abstract forms which refer to the various celestial stages of Paradiso. These are taken from Dean’s 35mm anamorphic film, which will be shown on the stage in the final act of the ballet. The film, titled Paradise, features an aperture gate masking system that allows different sequences to exist within a single-film frame. It is inspired by the colors used in the Paradise section of William Blake’s series of vivid watercolor illustrations of the Divine Comedy (1824). Taking the latter as a point of departure, Dean captures and experiments with pure light and color as her subject in an entirely abstracted form.
In the South Gallery, two new 16mm films will have their premiere in this exhibition. One Hundred and Fifty Years of Painting (2021: 16mm color film, continuous loop, optical sound, 50 ½ min) continues Dean’s tradition of artists’ portraits using the medium of film. Luchita Hurtado and Julie Mehretu, who in 2020 would have shared a birthday exactly five decades apart, are shown here in dialogue in a moving double-portrait. Filmed in Santa Monica on 3 January last year, the film features a congruence of lives which have overlapped in serendipitous ways, with musings on painting, motherhood, nature/ecology and more.
A new series of slate drawings, Panselinos (2021) and The Great God Pan is Dead (2021) is shown in conjunction with the new film Pan Amicus (2021: 16mm color film, continuous loop, optical sound, 31 min), which was commissioned by the Getty Center, Los Angeles, where Dean was in residency from 2014-2015. Celebrating the 20th anniversary of the Richard Meier building, Dean envisions an Arcadian idyll with corollaries to antiquity, invoking Cycladic sounds, hills, nature, and wind. A fictional landscape, “a place of my song dream, ” the film includes museum objects, and is inspired by the Greek god Pan – ‘friend and helper’ in the ‘Piper at the Gates of Dawn’ (Wind in the Willows ).
In our Third Floor Project Room, Dean will present two projects completed over the past year: Significant Form (2021) and Monet Hates Me (2021). Significant Form is comprised of 130 photographs taken of Dean’s found postcard collection, and is being shown concurrently at Hepworth Wakefield, UK. Rephotographed and hand-printed photochemically at various scales and on a variety of papers, the works are inspired by shared interests with British sculptor Barbara Hepworth, and depict a representation of, or potential for, sculptural form. Presented without attribution or explanation, Dean's free-flowing constellation is a pleasure of images that encourages us as viewers to follow our own readings and associations and find our own significance in the forms we encounter in the world around us.
Marian Goodman Presents
Tacita Dean on "Monet Hates Me"
A Conversation with Jim Cuno at The Getty, Los Angeles
Tacita Dean talks about 'Monet Hates Me' (2021) an edition of one hundred clothbound and foil embossed boxes, each containing fifty objects. with Jim Cuno of The Getty, Los Angeles