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Identity, Displacement, Loss and Redemption: the Art of Imants Tillers

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Identity, Displacement, Loss and Redemption: the Art of Imants Tillers Art Appreciation Lecture Series 2018 The hidden language of art: symbol and allusion Imants Tillers “identity, displacement, loss and redemption” Wayne Tunnicliffe 24 & 25 October 2018 Lecture summary: Imants Tillers became an artist during a revolutionary moment in the late 1960s when traditional painting and sculpture were challenged by pop, environmental, minimal and conceptual art. He initially made installations which quoted and combined works by other artists and from popular sources to explore the systems through which art generated meaning. Beginning his ongoing multi-panel painting project The book of power in 1981, Tillers’ layering of images and text with broader cultural, social and political meaning has led to paintings charged with symbolism, metaphor and allusion. His recent works are visually rich palimpsests, sometimes dizzying in their references, as he has developed an art about “identity, displacement, loss and redemption” (Tillers). This lecture will consider Tillers early influences before looking at a selection of mature works and their skein of references through which he has paradoxically found himself on a Journey to nowhere, the title of his recent retrospective at the Latvian National Museum of Art in Riga. Slide list: Imants Tillers 1 Title slide: Imants Tillers “identity, displacement, loss and redemption” 2 Imants Tillers Journey to nowhere 2017, synthetic polymer paint, gouache on 90 canvas boards, 228.5 x 265 cm, private collection 3 Christo & Jeanne-Claude Wrapped Coast, One Million Square Feet, Little Bay, Sydney, Australia 1969, gelatin silver photograph, 62.3 x 77.5 x 3.4 cm, Art Gallery of New South Wales 4 Installation views of the exhibition Marcel Duchamp, the Mary Sisler collection 1904-1963, at the Art Gallery of New South Wales in 1968 5 Douglas Huebler 598 / Variable Piece #70 : 1971 (In Process) Global 1975, gelatin silver prints and typescript, 94 × 94 cm, each overall: 94 x 188 cm, Metropolitan Museum of Art 6 Carl Andre Steel-copper plain 1969, steel and copper, 36 units: 1.0 x 30.5 x 30.5 cm each; 1.0 x 183.5 x 183.5 cm overall, John Kaldor Family collection at the Art Gallery of New South Wales 7 Imants Tillers Conversations with the bride 1974-75, gouache, synthetic polymer paint on paper, type C photograph, aluminium, dimensions variable, Art Gallery of New South Wales 8 Imants Tillers Conversations with the bride 1974-75 (details of paintings) Proudly sponsored by 9 Hans Heysen Summer 1909, pencil, watercolour on ivory wove paper, 56.5 x 78.4 cm, Art Gallery of New South Wales 10 Marcel Duchamp The Bride Stripped Bare by Her Bachelors, Even (the large glass) 1915-23, oil, varnish, lead foil, lead wire, and dust on two glass panels, 277.5 × 177.8 × 8.6 cm, Philadelphia Museum of Art 11 Imants Tillers Conversations with the bride 1974-75 (detail of installation) 12 Imants Tillers 52 displacements (nos 25, 31, 37, 43, 50, 52) 1979-1980, gouache on canvas, framed text panel, each canvas: 34.2 x 42.5 cm; each text: 18.8 x 22.0 cm, Art Gallery of New South Wales 13 Cover and page 11 of ‘Frederic Waugh’s Paintings of the sea’, Walter Foster How to draw, Art Books series, no.153, Tustin, California, n.d. 14 Imants Tillers 52 displacements (no. 2) 1979-1980, gouache on canvas, framed text panel, canvas: 34.2 x 42.5 cm; text: 18.8 x 22.0 cm frame, Art Gallery of New South Wales 15 Imants Tillers White Aborigines 1983, oil stick and synthetic polymer paint on 100 canvas boards, 254 x 381cm, Museum of Contemporary Art Australia 16 Publicity photograph for An Australian accent PS1 New York 1984 with Mike Parr, Imants Tillers and Ken Unsworth 17 Imants Tillers Pataphysical man 1984, synthetic polymer paint, charcoal and pencil on 168 canvas boards, 304 x 532 cms, Art Gallery of New South Wales 18 Giorgio de Chirico The archaeologist 1927, oil on canvas, 96 x 128 cm, private collection 19 Imants Tillers Pataphysical man 1984 (detail) 20 Imants Tillers The nine shots 1985, synthetic polymer paint and oilstick on 91 canvas boards, 330 x 266 cm, National Gallery of Australia 21 Georg Baselitz Blocked Painter, 1965, oil on canvas, 162 × 130 cm, private collection 22 Michael Nelson Jagamara Five stories 1984, synthetic polymer paint on canvas, 121 by 182 cm, private collection 23 Gordon Bennett The nine ricochets (fall down black fella, jump up white fella) 1990, oil and synthetic polymer paint on canvas and canvas boards, 220 x 182 cm, private collection 24 Michael Nelson Jagamara and Imants Tillers Metafisica Australe 2017, synthetic polymer paint and gouache on 72 canvas boards, 229 x 285 cm, Queensland Art Gallery/Gallery of Modern Art 25 photograph of Michael Nelson Jagamara and Imants Tillers 26 Imants Tillers Counting: one, two, three 1988, synthetic polymer paint, gouache, oilstick on 162 canvas boards, 251 x 639 cms, Art Gallery of New South Wales For access to all past lecture notes visit: https://www.artgallery.nsw.gov.au/members/current-members/member-events/hidden-language/ 27 Eugene von Guérard Lake Wakatipu with Mount Earnslaw, Middle Island, New Zealand 1877-79, oil on canvas, 99.1 x 176.5 cm, Auckland Art Gallery 28 Left: Eugene von Guérard Milford Sound, New Zealand 1877-79, oil on canvas, 99.2 x 176 cm, Art Gallery of New South Wales; right: Eugene von Guérard Lake Wakatipu with Mount Earnslaw, Middle Island, New Zealand 1877-79 29 Colin McCahon Koru, 1, 2, 3 1965, PVA on hardboard, 121.8 x 277.5 cm, Museum of New Zealand Te Papa Tongarewa 30 Giorgio de Chirico The divine horses of Achilles, Balios and Xanthos 1963, oil on canvas, 96.5 x 87 cm, Art Gallery of New South Wales 31 Imants Tillers Hiatus 1987, acrylic, oilstick and gouache on canvas on board, 279.4 x 723.9 cm, Auckland Art Gallery Toi o Tamaki 32 Imants Tillers Diaspora 1992, oilstick, gouache and acrylic on canvas boards, 300 x 1000 cm, Museum of New Zealand Te Papa Tongarewa 33 Imants Tillers Monaro 1998, gouache, synthetic polymer paint on 288 canvas boards, 305 x 853 cms, Art Gallery of New South Wales 34 Philip Otto Runge The cherubs glory (study for the painting "The Great Morning") 1809, black ink over pencil, 29 x 91.3 cm, Hamburger Kunsthalle 35 Left: Chris Ofili Them bones 1995, acrylic and mixed media on canvas, 182.8 x 121.9 cm, private collection; right: Sigmar Polke The three lies of painting 1994, resin and lacquer on polyester canvas, partly printed, 300 x 400 cm, Museum Brandhorst 36 Left: Robert Fludd Jacob’s ladder published in Utriusque Cosmi 1617-1621; right photograph of St Peter’s church, Riga, Latvia 37 Imants Tillers Terra Negata 2005, gouache, synthetic polymer paint on 288 canvas boards, 305 x 853 cms, Latvian National Museum of Art 38 Emily Kam Kngwarray, Anwerlarr anganenty (Big yam Dreaming) 1995, synthetic polymer paint on canvas, 291.1 × 801.8 cm, National Gallery of Victoria 39 Gabriel Orozco Black kites 1997, graphite on human skull, 21.6 x 12.7 x 15.9 cm, Philadelphia Museum of Art 40 Imants Tillers Journey to nowhere 2017, synthetic polymer paint, gouache on 90 canvas boards, 228.5 x 265 cm, private collection 41 Exhibition views Imants Tillers: journey to nowhere, Latvian National Museum of Art, Riga 2018 42 Imants Tillers in front of Monaro, Latvian National Museum of Art, Riga, 2018 43 Canvas boards in Imants Tillers studio, Cooma, New South Wales References: Elita Ansone, Marni Williams (eds) Imants Tillers: journey to nowhere, Latvian National Museum of Art and Power Publications, University of Sydney, Riga and Latvia, 2018 John Barrett-Lennard, The long poem, Lawrence Wilson Art Gallery, University of Western Australia, Perth 2009 Graham Coulter-Smith The postmodern art of Imants Tillers, appropriation ‘en abyme’ 1971-2001, Fine Art Research Centre, Southampton Institute and Paul Holberton Publishing, Southampton and London, 2002 Wystan Curnow Imants Tillers and the ‘book of power’, Craftsman House, Sydney 1998 Deborah Hart (ed) Imants Tillers: one world, many visions, National Gallery of Australia, Canberra, 2006 Charles Merewether,Towards Infinity: works by Imants Tillers, Museo de Arte Contemporáneo de Monterrey, Monterrey, 1999 Imants Tillers ‘Locality Fails’, Art & Text, no 6, 1982 Imants Tillers 'In perpetual mourning', Art & Text, no.15, 1984 Imants Tillers Metafisica Australe: selected writings, Giramondo Publishing, Sydney, 2019 For access to all past lecture notes visit: https://www.artgallery.nsw.gov.au/members/current-members/member-events/hidden-language/ .
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