Ausstellungsansicht EG, Kunsthaus Bregenz. The Montafon Letter, 2017. This postcard is part of the RA's exclusive range designed in collaboration with the Tacita Dean studio for our Tacita Dean LANDSCAPE exhibition; one of three distinct exhibitions forming an unprecedented collaboration with the National Portrait Gallery and the National Gallery. “Tacita’s work physically changes me,” says Mehretu. The Fredville Oak – one of England’s largest and believed to be 800 years old – happens to stand not far from where Dean grew up, in Kent. Immerse yourself in Tacita Dean’s beautiful, poetic works in the RA’s new galleries. Anne Carson was unable to travel to Thebes, in Greece, where Dean had planned to set much of her film. The Montafon Letter, 2017. chalk on blackboard. She also loves working in her spacious LA studio, where she has recently been absorbed by a series of drawings of clouds made in chalk, gouache and charcoal pencil, and she has been making lithographs with printmakers Gemini G.E.L. After seeing it in an exhibition, Richard Lease, a TV and film director, sent a postcard of the drawing to his friend, Paddy (Patricia Heal) who was dying. I was in the painting department at the Slade but I was utterly dysfunctional,” she says. He tells us about being slammed in the press by Salman Rushdie and his love of Virginia Woolf. Cullinan learned that around the same time he approached Dean, the RA’s Artistic Director Tim Marlow had also invited her to inaugurate the Academy’s new Gabrielle Jungels-Winkler Galleries, one of a series of spaces opening in May to mark the the RA’s 250th anniversary. Affixed to the pre-cast concrete walls of the Pavilion, these large-scale, multi-panel chalk-on-blackboard drawings create a panoramic affect as visitors descend into the gallery space. Earlier that year, the Soho lab that had for years printed all her films abruptly announced it was ceasing working on 16mm, and Dean took the high-profile Tate commission as a chance to speak out in defence of her medium. The work was, ostensibly, a portrait of its own medium. "It’s a shitty age,” she says. The results, however, are far from simple: because film is a time-based medium, the interplay between the images is subtle and entirely unpredictable. Dean would show work related to landscape at the RA, and to portraiture at the NPG. Prisoner Pair, An eclipse, says Dean, is “the ultimate blindness of nature”. She was filming inside the building before her collaborator, Cate Smierciak (whom Dean calls “the queen of the mask”), noted that both she and Dean are daughters of judges. When should this exhibition be published? Three monumental chalkboard works by Tacita Dean will be displayed together for the first time at Glenstone Museum, Potomac, Maryland, opening 12 November 2020. Instead of fighting over the artist, whom both agreed was richly deserving of a major exhibition in the country of her birth, they decided to collaborate, dividing Dean’s work into genres classically associated with painting. She has used 16mm film to picture subjects who are, more often than not, elderly men, from the Italian Arte Povera artist Mario Merz, in 2002, to her fellow Angeleno David Hockney RA in 2016 (the NPG and RA have jointly acquired her film of Hockney). This versatile, genre-defying artist has enjoyed three concurrent retrospectives at the National Gallery, the National Portrait Gallery, and the Royal Academy, three of the biggest art museums in the UK. From the Spring 2018 issue of RA Magazine, issued quarterly to Friends of the RA. The artist will be in conversation with David Claerbout in conjunction with her exhibition. Tacita Dean. Her Landscape exhibition inaugurates the new Royal Academy gallery, and is the last of a three-part Tacita Dean collaboration between the RA, the National Portrait Gallery and the National Gallery. Affixed to the pre-cast concrete walls of the Pavilion, these large-scale, multi-panel, chalk-on-blackboard drawings create a panoramic effect as visitors descend into the gallery space. We plan to reopen on Tuesday, 18 May! Chalk on blackboard. © Courtesy the artist; Frith Street Gallery, London; and Marian Goodman Gallery, New York/Paris. The artist in this case is Tacita Dean and the painting is ‘The Montafon Letter’ (you can see it here), a huge chalk-on-slate drawing of an avalanche hurtling down a mountain. FILM, Early in her time there she came across a tin of blackboard paint and applied it to a board, using chalk to make ethereal, notation-strewn drawings that emerged from – and, when wiped down, disappeared back into – darkness. An awe-inspiring snowy mountain landscape, The Montafon Letter (2017), which consists of nine blackboards joined together, over seven metres wide, came from the artist wanting to use spray chalk to depict an avalanche. Academy of Motion Picture Arts and Sciences. Dean used the technique in a miniature 35mm film portrait, included in the NPG exhibition, titled His Picture in Little (2017). When she came to know the Canadian poet Anne Carson in Berlin, a few years ago, and revealed to her the outline for her great unmade film, Carson responded that she had already written a poem about the very subject, published in 1997, titled TV Men: Antigone (Scripts 1 and 2). It had not consciously occurred to her. The Montafon Letter, 2017. Here’s our pick of the best artist biopics and documentaries available to stream in January. Installation view of 'The Montafon Letter' (2017) and 'Chalk Fall' (2018) at Kunsthaus Bregenz, Austria. He was also blind in one eye. Her grainy 16mm film “depictions”, as she calls them, of people, objects and places in some instances evoke – as with her luminous still-life Prisoner Pair (2008) – what some might call a painterly touch through their rich colouration and soft texture. “Am I superstitious?” she then asks, snooping at my list of questions on the table between us. Since her twenties, Dean has suffered from rheumatoid arthritis, and she refers to herself, unpityingly, as “lame”. Courtesy: the artist, Frith Street Gallery, London and … When they are back-projected in a gallery, they assume the presence of paintings, Dean says, “just in a different sort of frame”. © Tacita Dean. Tacita Dean’s interest in landscape phenomena has taken her around the world: from the unspoilt landscape of Bodmin Moor in England to the open rangelands of Wyoming in the American West to film a rare solar eclipse. Installed at Tate Modern, 2011. Tacita Dean was born in Canterbury, England in 1965. Dean explains that Majesty (2006), a huge overpainted photograph Dean took of the ancient Fredville Oak, suggested itself after she found a trove of old Japanese postcards of the Forest of Fontainebleu, then started researching the Fontainebleu Oak and old oak trees more generally. 9 panels, each 48 x 96 inches (122 x 244 cm) 144 x 288 inches (366 x 732 cm) overall. The resulting film Antigone (2018) is an hour-long, twin-projection 35mm film, which will form the centrepiece of her exhibition at the RA. Majesty, Gouache on photograph mounted on paper. Later Academicians J.M.W. Jonathan Griffin is a Los Angeles-based writer and critic. Artwork: Glenstone Museum, Potomac, Maryland. COVID-19 update: Glenstone Museum is operating as an outdoor-only experience. Scheduled visits are required and admission is always free. In 2014 she became artist in residence at the Getty Research Institute. She is motivated by curiosity, by her not knowing rather than by her predetermined intention. 2018. Film still (detail). Tacita Dean. Published after the exhibition, Tacita Dean at Kunsthaus Bregenz, Austria … The talk will take place on October 20, 2018, at 11 am. It would be to completely misapprehend the circuitous lines of meaning in her work, however, to draw direct parallels between either the characters of Antigone or Oedipus and Dean herself. In Banewl and Antigone, the eclipses progress in real time, lending the films their cosmically paced structure. Dean is a champion of photochemical film, yet her wide-ranging practice extends across a multitude of mediums. This Royal Academy article makes Dean’s approach seem very like Smith’s: Dean’s subjects typically arrive via a winding road of research full of unanticipated diversion and accident. On Richter’s use of paint: “What Richter captures in paint is movement; the movement through time and consciousness.” Order the issue here: https://bit.ly/2YJruyB Images: (1) Tacita Dean, “The Montafon Letter,” 2017 (detail), Glenstone Museum. Discussions with Marlow around the subject of landscape led her to revisit an idea she first developed 20 years ago. When she arrived with her cast and crew, she found nothing much in Thebes except an old courthouse, now a historical site. 2011. Her pioneering 35mm films, blackboard drawings and found object collections ask us to slow down and consider our place in human, geological and cosmic temporal scales. 2 synchronised 35mm anamorphic colour films, optical sound, with a running time of exactly one hour. Hastily, in application, she wrote a page-and-a-half-long treatment for a feature film based around the missing period between Sophocles’ plays Oedipus Rex and Oedipus at Colonus, when the blind and lame Oedipus is being led through the Theban wilderness by his faithful daughter Antigone, who, of course, is technically also his sister. Tacita Dean, The Montafon Letter, 2017. Kreide, 9 Tafeln, 366 x 732 cm.

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