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Imants Tillers: One World Many Visions, Introduces Teachers and National Gallery of Australia Secondary Students to the Work of This Signifi Cant Australian Artist

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Imants Tillers: One World Many Visions, Introduces Teachers and National Gallery of Australia Secondary Students to the Work of This Signifi Cant Australian Artist National Gallery of Australia, Canberra 14 July – 16 October 2006 This education material, produced to accompany the exhibition GALLERY INFORMATION Imants Tillers: one world many visions, introduces teachers and National Gallery of Australia secondary students to the work of this signifi cant Australian artist. Parkes Place Canberra ACT This major exhibition traces the development of contemporary artist nga.gov.au Imants Tillers from 1984 to 2006. The title of the exhibition, Imants OPENING HOURS Tillers: one world many visions, suggests the multiple nature of the Open daily 10 am – 5 pm (except Christmas Day) references in Tillers’ art that in turn refl ect the diversity of the world in which we live. ADMISSION Entry to the permanent collection is free Individual cards introduce and discuss an image, and present Entry to paying exhibitions is free for booked school groups discussion points and activities. The diverse subject matter Entry to all exhibitions is free for 16s and under explored within the exhibition links to key learning areas, such as Art, English, History, Mathematics, Science and Philosophy. EDUCATION GROUP BOOKINGS AND ENQUIRIES phone 02 6240 6519 (Monday to Friday) This kit has been designed to be used in conjunction with a visit fax 02 6240 6560 to the exhibition at the National Gallery of Australia. Additional email [email protected] material is available on the Gallery’s website: nga.gov.au/Tillers. web nga.gov.au/Tours SELECT BIBLIOGRAPHY GALLERY CAFE Deborah Hart (ed.), Imants Tillers: one world many visions, 10 am – 4.30 pm daily exhibition catalogue, Canberra: National Gallery of Australia, 2006. GALLERY SHOP Origins, originality + beyond, exhibition catalogue, Sydney: Open daily 10 am – 5 pm (except Christmas Day) Biennale of Sydney, 1986. 02 6240 6420 An Australian accent: three artists – Mike Parr, Imants Tillers, Ken ngashop.com.au Unsworth, exhibition catalogue, Sydney: John Kaldor, 1984. This education material is largely based on the catalogue Imants Tillers: one world many visions and has been produced by Adriane Boag, Educator, Youth Wystan Curnow, Imants Tillers and the ‘Book of power’, Sydney: and Community Programs, in collaboration with Deborah Hart, Senior Curator of Craftsman House, 1998. Australian Painting and Sculpture, and curator of Imants Tillers: one world many visions, with assistance from Tess Horwitz and Camilla Shanahan. The National Gallery of Australia is an Australian Government agency. (cover) Compilation of images from the Diaspora series 1992–96 © National Gallery of Australia INTRODUCTION Imants Tillers is a contemporary Australian artist whose work reflects many of I work at a desk, not in a studio. Yet one of the reasons I use this method the developments in art history, both in Australia and internationally, since the is to make huge paintings that have substantial presence. But when I take 1970s. From the earliest image in this exhibition, A life of blank 1984, through the picture down from the wall it reverts to a stack of panels. The image to the recent Terra incognita 2005, Tillers’ work can be seen to engage with disappears. This is important because it puts the images I’ve done to postmodern debates about art making. rest. I get obsessed with the intense feelings I’m dealing with so I like to be able to change my focus quickly. It’s a kind of detachment for reasons Born in Australia in 1950, Tillers is the son of Latvian émigrés who had met of self-survival. Also when I quietly contemplate these stacks of paintings in a displaced persons’ camp in Germany before migrating to Australia in in the corner of my room as a simple mass, volume and substance, I 1949. Tillers’ upbringing reflects the northern European cultural background have that same comforting sense of reassurance that a scholar feels on of his parents, and has provided a context and personal dimension to his entering a well-stocked library. (Imants Tillers, ‘Statement by the artist’, questioning of origin, identity and cross-cultural influences. Tillers’ knowledge in Origins, originality + beyond, exhibition catalogue, Sydney: Biennale of Latvia comes from his parents’ memories, from his attendance at weekend of Sydney, 1986.) Latvian classes when he was growing up, from visits to Latvia, and from books. Second-hand experience of diverse cultural influences, along with the distance The Book of Power can also be compared to a postmodern text, in that the of Australia from Europe, prompted Tillers to consider the transmission of meaning and connections between images in Tillers’ work are not fixed – they information via mechanical reproduction in his earliest works from the 1970s. can be non-linear, subjective and contradictory. In the 1980s postmodern debates questioned the status of the original and appropriation. When an Tillers was a young architecture student when artists Christo and Jeanne- artwork is seen only as a copy, the physical presence of it as an ‘original’ is lost. Claude began their project Wrapped Coast, Little Bay, One Million Square This presence is sometimes referred to as the aura of an artwork, thus giving Feet, Sydney, Australia in 1969. To complete the project – in which part of the the original status as ‘the real thing’. Part of Tillers’ canvasboard project is to coastline south of Sydney was wrapped in 100 000 square meters of material reinvest the copy or reproduction he finds in books or magazines with the status and 60 km of rope – Christo required the assistance of art students, one of and aura of an original. He does this by transforming the found image onto whom was Tillers. Participating in this event was a formative experience for canvasboards, altering and adjusting scale, texture and colour, and by placing Tillers, not just because of the total transformation of the landscape, but also this painting into a new context. Indeed, the divisions between each of the because of the opportunity to work with an internationally renowned artist. smaller canvasboards in Tillers’ work can be seen to refer directly to the grid In 1981 Tillers began his distinct method of painting where small canvasboards lines used to scale up and copy an image. are displayed together to create large and often complex paintings. Working on This appropriation of images by other artists is one of the chief concerns of small, individual units has allowed Tillers to produce large paintings in relatively postmodernism. While questioning ideas about the originality of the copied small studios. From the start the artist has numbered each canvasboard, and in artwork, appropriation is also concerned with interpretation. An image 2006 the sequence has reached almost 80 000. This system is known variously reproduced in a book, magazine or painting is very different from the original. as the Book of Power, the Large Image Field, the Canvasboard System and One Changes in colour, texture, scale and context can occur through the printing Painting. These titles suggest a work in progress, one that is diverse and open process, which is often referred to as mechanical reproduction. to change within its structural limits, perhaps even a self-perpetuating system directed by the artist. When Tillers exhibits his works old meanings can be rediscovered and new ones found. Over time Tillers’ choices and combinations build their own web of Beginning in the late 1960s conceptual and performance art provided artists with connections as his paintings become recognisable as the work of Imants Tillers. alternative ways to make art. Many conceptual artists use numbers to mark time and The powerful relationships exposed in the flow of information from one place Tillers’ canvasboards share this conceptual structure. Tillers’ painted canvasboards to another, and the role of the media are central to postmodern theories of art. are stored and often exhibited as stacks, almost as containers of history. The Tillers challenges the idea of fixed meanings and relationships through his process of installing his works on the wall with Velcro dots invokes repetition and appropriation of images from different artists from many cultures to create an reminds the viewer how these paintings are made. In 1986 Tillers wrote: open and inclusive dialogue for art making. A LIFE OF BLANK VI 1984 Imants Tillers A life of blank VI 1984 pencil and charcoal on 6 canvasboards Private collection, Canberra A LIFE OF BLANK VI 1984 A life of blank VI signals Imants Tillers’ fascination for artist Giorgio de Chirico. • Tillers takes up the idea of the perceived centres, such as Europe, at a Based on a self-portrait by de Chirico, Tillers’ work raises questions of identity distance from Australia and seeks to bridge the gap. He is fascinated by and a sense of his own presence and absence simultaneously. In comparing misunderstandings or misinterpretations that are possible when looking at A life of blank VI with de Chirico’s original a number of transformations can be art through reproductions. When Tillers re-made de Chirico’s self-portrait in noted. In his self-portrait de Chirico used paint and brushes to create a physical A life of blank VI he was looking at a black-and-white reproduction, initially likeness; however, Tillers uses charcoal and pencil, and the image is covered in unaware that the original de Chirico painting depicted the head of a real fingerprints. These physical signs reveal Tillers’ own presence and the shifts in person emerging from the body of a marble statue. scale, texture and context imbue the appropriated image with a new aura. DISCUSSION Giorgio de • De Chirico painted over one Chirico • Consider the ways in which identity can be established. Why has Tillers Self-portrait hundred self-portraits, reflecting 1924 tempera the mutability of the self, sometimes smudged his fingerprints over his reinterpretation of de Chirico’s self- on canvas portrait? Collection expressed in the form of a statue of Giovanni and sometimes as another person • Research the work of artists such as Cindy Sherman and Marcel Duchamp.
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