At Home by Yorkshire Sculpture Park

A National Partners exhibition from the Arts Council Collection

19.03.16 –03.07.16

a crucial role in the health and wellbeing of societies and humanity as a whole, and that everyone is an artist. His philosophy is expressed in his famous statement that peeling a potato, if done consciously, was a creative process. Preparing food was an important element of his practice and he was shown in a TV documentary in 1979 cooking a meal in the huge kitchen in his studio in Düsseldorf. Intuition ... instead of a cook-book encourages us not to recreate an existing recipe, but to follow our gut feelings in cooking, creative processes and life itself.

WELCOME

Welcome to AT HOME, the first in a series of exhibitions curated from the Arts Council Collection as part of the National Partners Programme to mark the Collection’s seventieth anniversary. AT HOME relaunches the Bothy Gallery following its extensive refurbishment, supported by Arts Council England and a significant public giving campaign, and highlights exquisite works of domestic scale. Through the familiar touchstones of home and domestic objects, the exhibition shares over 40 works from 1930 to 2010 and casts light on changes in art during that time including the highly influential appropriation of ‘ready-made’ objects as pioneered by Marcel Duchamp, the emergence of photography as an art form, and conceptual art. Once the home of the Head Gardener, the Bothy Gallery was built around 1810 and is a historic part of the Bretton Estate. We understand home to be a dwelling place but of course it is far more than that, being a retreat, a safe space, people we love, and a collection of memories. This exhibition and related activities reference the gallery as former dwelling, different ideas of home, as well as the sense of YSP as a sanctuary for many and our continued work with hard-to-reach communities, including those who have made the region their home whether by choice or forced migration.

ABOUT THE ARTS COUNCIL COLLECTION AND NATIONAL PARTNERS 2016 marks the seventieth anniversary of the Arts Council Collection, the UK’s most widely seen collection of modern and contemporary British art. The celebrations include the commissioning of eight new works that will go on display across the UK throughout 2016; two new touring exhibitions – Night in the Museum, curated by Ryan Gander, and Drawn from Life: People on Paper; and the National Partners Programme, which will deepen the Collection’s longstanding relationship with museums and galleries around the country and enable many more people to visit Collection exhibitions. The National Partners are the Towner Art Gallery, Eastbourne, Birmingham Museums Trust and The Walker Art Gallery, National Museums Liverpool alongside YSP. The Programme will see 24 exhibitions over three years. More information about the Arts Council Collection’s seventieth anniversary celebrations can be found at artscouncilcollection.org.uk

Bothy Gallery A Gabor Altorjay (Hungary 1946) Object for Short-Circuit (1968) electric plug and cable Altorjay fled to Western Europe in 1967, having come to the attention of the Hungarian state security offices for his avant-garde artist practice, which included organising the first ‘happening’ in his country in 1966 – a partly improvised piece of performance art. Object for ShortCircuit is the epitome of a useless, self-fulfilling object as might plug into itself, but is incapable as the flex is too short. It could be interpreted as a comment on the Kafkaesque bureaucratic systems of his homeland in the Communist era, but also on the role of the art object in culture, which for many is that it should not have a practical function or purpose. Armand Arman (France–New York 1928–2005) Untitled (1965) leather and acrylic Arman is associated with the Nouveau Realiste movement that emerged in France in 1960 in response to

pop art, which had been famously developed by artists such as Andy Warhol and appropriated images from mass culture. Arman’s early Accumulation sculptures highlight the strangeness and inhumanity of mass production, through gathering together identical objects in repeated forms. Untitled presents a pair of shop-bought, factory produced shoes in an acrylic frame that look, perhaps not coincidentally, similar to Warhol’s shoe designs from his early career as a commercial artist.

B Fiona Banner (UK 1966) Inside-Out Aviator Glasses (1994) aluminium, glass and metal Having experienced the thrill and fear of military aircraft as a child, Banner explores their cultural significance, and the romance yet repulsion of war, often through language and wordscapes – as could be seen in her 2014 YSP exhibition WpWpWp. In Top Gun (1994), she handwrote the entire film, and in the same year she created this sculpture

of aviator glasses, immediately associated with Tom Cruise’s character in the film. Mirrored on the reverse, though, the viewer’s gaze is reflected inwards in examination of society’s complex relationship with warfare and its machines. Jordan Baseman (USA 1960) Boy (1995) cotton and metal Baseman established an early and successful career as a sculptor but, following pressure from a commercial gallery to make works that could be sold, he decided to move away from the production of material/materialistic objects and instead began working with film. He is currently Reader in Time Based Media and Head of Sculpture at the prestigious Royal College of Art, London. Boy is part of a continued exploration into growing up and gender within the artist’s practice. Joseph Beuys (Germany 1921–1986) Intuition ... instead of a cook-book (1968) pencil on wood Beuys is recognised as one of the most important artists of the 20th century. He advocated ‘social sculpture’, believing that art played

Richard Billingham (UK 1970) Untitled (RAL 49) (1995) SFA4 colour photograph mounted on aluminium Shortlisted for the Turner Prize in 2001, English photographer and video artist Billingham is known especially for photographs of his family, which were originally intended as preparatory works for paintings but became an important series in their own right. Being an honest depiction of his alcoholic father, Ray, and overweight tattooed mother, Liz, Billingham’s photographs nevertheless are often tender and sympathetic. A contemporary documentation of real life, the photographs reinforce that home might not be an ideal space or family, but there can still be love and comfort in less than ideal circumstances. Terence Bond (UK 1960) Untitled (Untitled) (1995) coconut fibre and ink Gifted to the Arts Council Collection by the influential collector Charles Saatchi, Untitled is a witty reference to the pervasive argument of Marcel Duchamp, who said that any object selected by an artist was transformed into an artwork because it was selected by an artist. Duchamp famously pioneered this strategy in 1917 when he presented a urinal on a plinth and called it Fountain. This has been a very important aspect of art of the last century and freed artists from traditional representation. Bill Brandt (Germany–London 1904–83) A Sheffield Kitchen (1937) gelatin silver print ‘The extreme social contrast, during those years before the war, was visually very inspiring for me. I started by photographing London, the West End, the suburbs, the slums’.–The artist. Brandt settled in England in 1934 and became an important photojournalist whose work appeared in magazines such as Picture Post and Lilliput. Although often working with traditional subjects – the portrait, landscape and nude – Brandt’s unflinching documentation of real

At Home A National Partners exhibition from the Arts Council Collection

lives, carefully composed in black and white, drew attention to the struggles of the working class and unemployed. A Sheffield Kitchen was taken during Brandt’s first visit to the north of England, a visit inspired partly by reading George Orwell and J B Priestley as well as the Jarrow Crusade (1936), a protest march against unemployment and poverty in the northeast Tyneside town.

as Van Gogh, Grant developed a personal painting style as expressed in Flowers Against Chintz that is both representational but tending toward abstraction – the real flowers becoming integrated into those of the fabric design.

Richard Hamilton (UK 1922–2011) Toaster (1967) photolithograph, screenprint and collage Associated with the British pop art movement, Hamilton co-founded the ‘Independent Group’ at London’s ICA in 1952, which appropriated mass and advertising culture as ‘found’ material, for example Hamilton’s famous collage Just what is it that makes today’s homes so different, so appealing? (1956). Technically highly accomplished and incorporating different printing techniques, Toaster plays with the imagery and copy of commercial advertising such as claiming ‘it has been included among the most attractive objects for everyday use exhibited at the New York Museum of Modern Art – the only automatic toaster to achieve this honour’.

Sophie Calle (France 1953) The Tie (1993) silk Calle’s installations share personal and fictional, often poetic and enigmatic, stories about life, love and loss. She employs objects as touchstones within these stories, connecting the viewer on an emotional level and blurring the boundaries between public and private lives. Her installation Take Care of Yourself for the 2007 Venice Biennale (the world’s leading festival of contemporary art) shared 107 analyses by women from different professions of a break up email Calle had received. The Tie and its story recall Calle’s impressions of a man and the imaginary path their lives might follow. Robert E. Clatworthy RA (UK 1928–2015) Cat (1954) bronze Clatworthy was best known as an animal sculptor, creating energetic representations of bulls, cats and horses. He worked quickly in wet plaster to capture the sense of an animal in motion, as can be seen in this sculpture of a cat on the move. As well as his own artistic career, Clatworthy was Head of the Fine Art Department at the Central School of Art and Design, London, from 1971 to 1975 and elected a fellow of the Royal Academy of Arts in 1973. His work is held in important collections including the V&A and Tate.

D Dalziel & Scullion (UK 1957, 1966) Television Cloth (1994) aluminium and silk organza Dalziel and Scullion have worked in collaboration since 1993, creating photography, video, sound and sculpture that explores contemporary life in relation to our environment. Their 2001 YSP project, for example, included a series of photographs and sound works highlighting issues around the growth of cities and digital communication. Created in 1994, Television Cloth is inscribed with the word ‘rest’ and is even more relevant in our increasingly screen-based age. It encourages us not only to give our devices a rest, but ourselves too.

H Sophie Calle, The Tie, 1993. Arts Council Collection, Southbank Centre, London © the artist

Anthony Devas (UK 1911–1958) Six O’Clock News (1940) oil on canvas Devas was a portrait painter associated with the Euston Road School, a group of English painters who taught or studied at the School of Drawing and Painting between 1937 and 1939. They placed emphasis on direct representation based on observation and sought to make art more relevant to a general public. Six O’Clock News portrays a man in a domestic setting most likely listening to, rather than watching, one of several daily bulletins on the war effort at home and abroad. A ‘dull thud’ could be heard during the nine o’clock news on 15 October 1940 when Broadcasting House suffered a direct hit from a delayedaction German bomb. Seven people were killed as Bruce Belfrade read the news, carrying on as though nothing had happened despite being covered in plaster and soot. Herbert Distel (Switzerland 1942) A Somewhat Peculiar Breakfast Egg (1969) wood, plastic and chromium Working in painting, sculpture, photography, film and music, Distel’s works include the Museum of Drawers (1970–77), held in the Kunsthaus Zürich, which contains miniature works by many artists including Picasso. Distel now lives near to Vienna and his work has been included in important exhibitions including Documenta; the Venice and São Paulo Biennales; and the Museum of Modern Art, New York. Distel considers eggs to be the most universal ‘ready-made’ in existence, being not just a homage to life but also a symbol of awakening and renewal, and he has presented them in different forms throughout his career.

F Robert Filliou (France 1926–1987) Optimistic Box No.1 (1968) wood and stone One of the most innovative artists of his generation, Filliou was part of the French Communist party during World War II and had various parallel careers including working for Coca Cola in LA (when he also gained a

Masters in economics); as a United Nations adviser during the Korean war; and he also spent 3 years, 3 months and 3 days in a French Buddhist monastery. Often playful and witty, Filliou’s works nonetheless give great insight into profound thought. In 1963 he proposed ‘Art’s birthday’ as being the 17 January, when we should celebrate that we have art in our lives. Optimistic Box No.1 suggests we ‘thank god for modern weapons. We don’t throw stones at each other any more’. This ironic attempt to see the best in a situation echoes the influential satire Candide (1759) by Voltaire, which poked fun at the prevailing philosophy that we live in the best of all possible worlds, and that one must interpret even the worst of situations in the best light.

G Dan Graham (USA 1942) One (1992) plastic Exploring the symbiosis between architecture and people, Graham is known for glass and mirrored pavilions developed since the late 1970s, which can not only be entered but integrate with their surroundings through reflection. A curator and writer as well as an artist, Graham exhibited Minimalist artists such as Donald Judd, who explored the possibilities of very simple, often geometric, forms and colours. A famous example of Minimalism is Equivalent VIII by Carl Andre, also known as the Tate Bricks, which is part of his series of sculptures presenting 120 fire bricks in different combinations. One is based on the simple game of rearranging tiles to create a picture, the punchline being that it will always looks the same. Duncan Grant (UK 1885–1978) Flowers Against Chintz (1956) oil on board Painter, theatre and textile designer, Duncan Grant was a member of the Bloomsbury Group, an influential early 20th-century community of writers, academics, intellectuals and artists who lived in Bloomsbury, London. Familiar with the work of the French Impressionists, such as Monet, and Post Impressionists, such

Barbara Hepworth (UK 1903–1975) Two Girls with Teacups (1949) oil and pencil on board Born in nearby Wakefield, Hepworth became one of the most important artists of the 20th century, pioneering new and often abstract forms of sculpture, but also creating an important body of two-dimensional works. As can be seen from displays at The Hepworth Wakefield, she was highly technically accomplished from a young age and the confidence of her hand is demonstrated in this beautiful work. Hepworth often worked on board, preparing the background in a thin layer of oil paint in muted colour, which was scratched back as required. Her very important sculpture installation The Family of Man (1970) can be seen on Hillside here at YSP and has been on generous loan from the Hepworth Estate since 1980.

text-based artworks that challenge and comment on our culture through works such as Protect Me From What I Want (1983 –85). Untitled is a simple ink pad and set of rubber stamp aphorisms – or observations – including ‘WORDS TEND TO BE INADEQUATE’ and ‘LACK OF CHARISMA CAN BE FATAL’. Gary Hume RA (UK 1962) Frankfürter Allgemeine, Le Monde, The Independent, International Herald Tribune (1991) print on paper and card Hume was shortlisted for the Turner Prize in 1996, represented Britain at the Venice Biennale in 1999, and elected to the Royal Academy in 2001. He established an international reputation as part of the Young British Artists group in the 1990s, whose notoriety extended into the popular media and whose work and lives often made headlines. Hume was included in the deliberately provocative exhibition of work from the Saatchi Collection Sensation (1997) at the Royal Academy, which cemented the YBA’s shocking reputation in the popular imagination. The newspapers here include stories on US unemployment, the devastation of the Bay of Bengal cyclone in 1991, economical recession and pre-general election debate.

K E’wao Kagoshima (Japan 1945) Stopped Liquid (Cup) (1968) ceramic and brass Kagoshima works in painting, sculpture and collage and he is associated with the Japanese pop art movement. He moved to New York in 1976 and has shown work at the New Museum, New York; ICA, London; and Museum of Modern Art PS1, New York. Stopped Liquid (Cup) is one of an early series of sculptures that capture paint cans and cups at the moment of spilling.

Damien Hirst (UK 1965) Relationships (1991) glass, plastic and paper Born in Leeds, Hirst launched his own career and those of his contemporary Young British Artists in 1988 with the exhibition Freeze. Key themes in his work include the fragility of life, our culture’s attitude to death, love, life and relationships in works such as The Physical Impossibility of Death in the Mind of Someone Living (1991), comprising a dead shark suspended in a tank of formaldehyde. In the work here, relationships are reduced to the concept of a ping-pong ball in a glass supported by different levels of water.

Janice Kerbel (Canada 1969) Home Climate Gardens: Council Flat–Wall mounted gardens (2004) digital inket on paper Nominated for the prestigious Turner Prize in 2015, Kerbel was born in Toronto and now lives in London. She works in print, type, sound and light and considers the relationship between country and urban. Kerbel devised nine different Home Climate Gardens during a collaboration with the Tyndall Centre for Climate Change research at the University of East Anglia and the Norwich Gallery. The digital inkjet prints document her ideas for indoor gardens to suit different situations such as Council Flat: Wall-mounted Gardens and Gym: Respiration Garden.

Jenny Holzer (USA 1950) Untitled (1991) rubber, wood and ink Holzer uses contemporary means of communication, including billboards, TV and especially LED signs, to create

Jannis Kounellis (Greece 1936) Le vin du Musée (1986) glass and paper Kounellis grew up during World War II and ten years of Greek civil war

19.03.16–03.07.16 Yorkshire Sculpture Park

before moving to Rome in 1956. Here he was part of the Arte Povera movement of artists (which translates as poor art) who created artworks from humble materials and sought to reconnect art with everyday life. A leading artist of his generation, Kounellis has had many international exhibitions and his work is in major collections including the Guggenheim, New York, and Tate, UK. Le vin du Musée is part of a series of wine bottle labels created for Musée Bordeaux by artists also including Richard Long.

L Darren Lago (UK 1965) This is Not a Pipe (1996) plastic, wood and electrics Lago is known especially for combining familiar objects to make new sculptures, which often reference important historical works of art. Based on a hairdryer, This is Not a Pipe is a knowing and playful reference to René Magritte’s famous painting Ceci n’est pas une pipe (1929), and its message that the artwork was canvas and paint, not the thing it represented. Roy Lichtenstein (USA 1923–1997) The Melody Haunts My Reverie (1965) screenprint A leading artist of the US pop art movement, Lichtenstein’s paintings evolved from being abstract and non-figurative to include cartoon characters such as Mickey Mouse

and Donald Duck before he established his own, unique, comic-strip style. The Melody Haunts My Reverie references the Hoagy Carmichael jazz song Stardust (1927) and is typical of Lichtenstein’s approach, with even the printer’s dots being painstakingly rendered, deliberately confusing the values of the hand-made and the mechanically reproduced.

M Lisa Milroy RA (Canada 1959) Silverware (1983) oil on canvas Milroy studied at the Sorbonne University, Paris, and Central Saint Martins, London. She is a member of the Royal Academy of Art, London, and has work in major collections including Tate. Silverware is typical of Milroy’s paintings, which take domestic items, often grouped together, as their subject matter, painted in isolation against a plain background. Jonathan Monk (UK 1969) My Glasses (1994) plastic, metal and glass Monk’s work has been presented in major exhibitions including the Venice, Berlin and Taipei Biennials and in solo shows at the ICA, London, and Irish Museum of Modern Art, Dublin. He has said that he decided early in his career that being original was almost impossible so he appropriated and reinterpreted important works of art, such as Deflated Sculpture (2009), which shows

Jeff Koon’s iconic balloon rabbit in various stages of collapse. My Glasses suggests that our identity is inherently bound up with the objects we choose in life, especially items as personal as a pair of glasses. Dennis Morris (Jamaica 1953) Untitled (Man with 2 children) (1973–75) silver bromide print ‘Woven with the mettle of migrant myths, dreams and realities, cut from the flowing fabric of Asian culture by pioneers using the tools and physical surrounds of the West, Southall has provided a pattern of crosscultural living in post-war Britain gradually falling in step to the directional sway of the town’s multiethnic rhythms and traditions.’–The artist. Morris moved to London with his family as a child and became interested in photography through a club at his church, becoming successful as a teenager for his photographs of Bob Marley and the Wailers taken during their 1973 tour. His career developed through music photography and he was a member of the punk/reggae band Basement Five before becoming Art Director of Island Reords in the late 1970s. This photograph is part of a series documenting life in the diverse London district of Southall.

N Lucia Nogueira (Brazil–London 1950–1998) One and Three (1994) glass, mercury, phosphorus, paint and platinum

Open Air Home Entertainment 4 Metres (2010) painted steel The vane’s size doubles in each subsequent commission Chris Evans (UK 1967) Chris Evans explores the relationships between cultural and corporate systems, for example collaborating with managing directors of a group of retail and telecommunication companies for Radical Loyalty (2003). Originally commissioned by the Marres Centre for Contemporary Culture, Maastricht, Home Entertainment is a fully functioning weathervane. It is a play on words that, literally, points to the huge increase in pastimes enabled by technology. The ‘home entertainment’ system has evolved from the wireless radios of the early 20th century to wireless-enabled live streaming and multiple ways to share and connect our lives across the world. Evans questions the expectations of cultural institutions in the digital age. For many they are a peaceful respite, a slow experience of contemplation, for others a form of spectacle and entertainment.

ROGER HIORNS SEIZURE Experience Roger Hiorns, Seizure, 2008/2013 at YSP. Open weekends and daily during school holidays

At Home A National Partners exhibition from the Arts Council Collection

W Mark Wallinger (UK 1959) A Real Work of Art (1994) wood, polyurethane, plastic, brass, felt and paint Wallinger was shortlisted for the Turner Prize in 1995, won the award in 2007, and represented Britain at the 2001 Venice Biennale. Horses have long been a theme in his work, not just because they have been a consistent subject throughout the history of art, but due to their place in British class culture. For example, his 1995 Turner Prize exhibition focused on horse racing as metaphor for the British fixation with class and breeding. A Real Work of Art was the name of an actual chesnut filly horse owned by the artist and trained at Newmarket, which ran only one race before being injured.

‘Nogueira takes things that are close to hand and imbues them with malignancy and magic’.– Liam Gillick. Nogueria, who died in London aged just 48, created sculptures, installations and drawings that subvert the everyday through the appropriation and alteration of familiar objects. Mischief (1995), for example, is a wooden chair that has lost its seat, with one leg trapping a white bridal train, that is in fact an unrolled strip of plastic carrier bags. One and Three are a pair of earrings, but potentially lethal due to the combination of chemicals held within the fragile glass casings.

Kathy Prendergast (Ireland 1958) The End and the Beginning (1996) human hair and wood Now living in London, Prendergast works in sculpture, drawing, painting and installation and was awarded the prestigious Premio 2000 prize at the Venice Biennale in 1995. Her early works such as the Body Map series articulated the female form as terrains and territories, as comment on the rights women have, or not, over their own bodies. In the 1990s her work began to be concerned with domestic objects, such as this based on a cotton reel but with human hair instead of thread.

and text and considers our sense of place as revealed through memory and shared mythologies. He often creates poetic narratives built around the voices of semi-fictional characters. This is the first presentation of Flat 23 since it was acquired by the Arts Council Collection and it is a two-part harmony set to music in which the former resident of a condemned block of flats lists the objects that used to be in her home.

Yoko Ono (Japan 1933) All White Chess Set (1962–70) acrylic on wood Famous for her marriage to John Lennon, Ono is in her own right an internationally important and respected artist and activist whose works include the Imagine Peace Tower in Iceland. In adapting the ‘ready-made’ game of chess Ono references Marcel Duchamp not only in the act of appropriation but also in his intense interest in chess, which he seriously pursued after ‘retiring’ from art in 1923. In making both sides white, Ono erases the difference between ourselves and our opponent, rendering conflict pointless.

Donald Rodney (UK 1961–1998) In the House of My Father (1997) photographic print on aluminium (Photograph taken by Andra Nelki) Rodney was a significant artist of his generation, whose work explored identity and the position of ethnic minorities in Britain. Made just a year before his death, In the House of My Father is an edition of photographs and a sculpture constructed from the artist’s own skin removed during one of many operations to combat sickle cell anaemia – an inherited disease that affects people of African, Eastern Mediterranean, Middle Eastern and Asian ancestry. It is a poignant and moving work that reveals much in one simple image.

Kei Suga (Japan date unknown) Plant Forms Electric Light Bulbs (2 Parts) (1968) plastic, wood and brass In Japanese culture it is common to use a tiny part of something to suggest the whole – the traditional zen garden of gravel, rocks and moss, for example, to represent mountains in a landscape. Here, miniature gardens are created in the form of typical glass light bulbs.

Paul Rooney (UK 1967) Flat 23 (2002) sound work for three monitors, three channel sound Winner of the 2008 Northern Art Prize, Rooney works with sound, video

T Marcus Taylor (UK 1964) Untitled (Upright Fridge) (1991) acrylic sheet Taylor’s sculptures are usually based on mass-produced domestic objects such as freezers, fridges, and hi-fi stacking units. They are built to life size, pared back to their essential dimensions, in thick, clear acrylic sheet that is sanded to create a matt, frosted finish, suggestive of the chilled temperature in the case of the fridge and freezer.

Richard Wentworth (UK 1947) Nature, Mort (1982) cotton and metal Wentworth transforms familiar objects and subverts their original function with the result that our understanding of them becomes confused. Nature, Mort takes its title from the French term for ‘still life’, a traditional subject matter in art, and a theme that Wentworth has explored throughout his career. Rather than the expected still-life scenes such as fruit and table settings though, Wentworth’s are snapshots of real-life circumstances that pique his interest, often of objects being used in ways other than intended, such as a wellington boot employed as a doorstop, and a bottle top as an ashtray. Edward Weston (USA 1886–1958) Eggs (1930) silver bromide print ‘The taut wire strings for slicing give it the appearance of a musical instrument, a miniature harp. I put the hard-boiled egg, stripped for cutting into it, a couple more eggs were commandeered to balance, and two aluminium baking dishes, the halved kind, made to fit together in a round steamer were used in back. Result – excellent.’–The artist. One of the most innovative and influential photographers of the 20th century, Weston pioneered the possibilities of the new art form. In early 1930 he experimented with the formal, compositional qualities of readily available domestic items, in this case eggs and kitchen utensils. Stefan Wewerka (Germany 1928–2013) Coat Hanger (1968) metal Initially trained as an architect, Wewerka was an artist, designer and teacher especially interested in the possibilities of typical domestic items. His TECTA chair sculptures for example were designed according to the Bauhaus principle of form following function and suited seven different types of sitting postures. Coat Hanger pushes the form of a familiar item into an artwork, being no longer useful for its intended purpose.

Rachel Whiteread (UK 1963) Untitled (1993) bronze A leading British artist, Whiteread was the first woman to win the Turner Prize in 1993, and is especially known for House (1993), a concrete cast of the entire interior of a terraced home in Bow, London, that was due for destruction. It was typical of her investigation into domestic forms, and the presence of their inhabitants through their absence – often casting voids, such as the space between chair legs, using the lost form process in which the original item is destroyed. Untitled, for example, references the absences of the door it once opened, and by inference, the building it was once in and the people who used it.

Coming Soon TRANSPARENCY A National Partners Programme Exhibition from the Arts Council Collection 25.06.16–04.09.16 Chapel See TRANSPARENCY, the second in a series of exhibitions curated by YSP from the Arts Council Collection later this year. Taking the exceptional light qualities of the Chapel as inspiration, the exhibition explores the condition of transparency and in so doing responds to the particular aesthetic of the 18th-century building.

FAMILIES Look out for AT HOME family activities in the Bothy Gallery to help explore the themes of the exhibition.

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