{"id":59296,"date":"2019-05-28T11:34:46","date_gmt":"2019-05-28T10:34:46","guid":{"rendered":"http:\/\/centmagazine.co.uk\/?p=59296"},"modified":"2019-06-23T12:14:28","modified_gmt":"2019-06-23T11:14:28","slug":"ratio-dorothea-tanning-between-crafts","status":"publish","type":"post","link":"https:\/\/staging.centmagazine.co.uk\/?p=59296","title":{"rendered":"Ratio; Dorothea Tanning: Between Crafts"},"content":{"rendered":"

Dorothea Tanning lived a very long, very productive life. On paper, it makes quite disconcerting reading to the average you or me: she was a successful painter, printmaker, sculptor and writer. She published two memoirs, two books of poetry, a novel, and has countless artistic works in galleries across the US and everywhere outside \u2013 from Jerusalem and Barcelona to Rome and Cambridge. She was a tremendously prolific, truly singular creative mind that we can only be in awe of.<\/p>\n

At the centre of everything was her painting. Both influenced by and influencing twentieth century Surrealism, her most revered works are invariably strange yet fascinating, challenging yet rewarding. See\u00a0Eine Kleine Nachtmusik <\/em>(1943), On Time Off Time <\/em>(1948), Insomnies<\/em> (1957), or Still in the Studio <\/em>(1979): each work is a rabbit hole of mystery and intrigue. You\u2019ll struggle to describe what exactly you\u2019re looking at, but you won\u2019t be able to look away.<\/p>\n

\"Dorothea<\/a>Eine Kleine Nachtmusik,\u00a0<\/em>on display at the Tate Modern<\/p>\n

Many of these are held at the current showcase of her life and work at the Tate Modern, running until 9th<\/sup> June. It is the first large-scale exhibition of her work for 25 years, bringing together the iconic paintings from her seven-decade career, but also many of the sculptures, such as H\u00f4tel du Pavot, Chambre 202 <\/em>(1973),\u00a0\u00c9treinte <\/em>(1969), and Nue couch\u00e9e <\/em>(1969-1970):<\/p>\n

\"Dorothea<\/a><\/p>\n

H\u00f4tel du Pavot<\/em>\u00a0especially is daunting in size but overwhelming in effect. As a first-hand experience it\u2019s unforgettable. It receives its own room of the exhibition’s eight. Appropriately, the Tate’s physical space offers entrances, exits and doorways, but never to restrict one room or isolate it from any of the others; it accommodates an artist that frequently returned to\u00a0a surrealist\u00a0interpretation of the\u00a0door symbol. The image\u00a0provides\u00a0a\u00a0background to many of her early works, but it\u00a0becomes the focal point of the\u00a0later pieces:<\/p>\n

\"Dorothea<\/a>Door 84 <\/em>(1984), a\u00a0centrepiece of room two. The exhibition programme subtitles this\u00a0area “Behind the Door”<\/p>\n

Doorways to other creative worlds are what Dorothea Tanning lived by. Alongside the artwork, her first short story was published in VVV Magazine in 1943 and her poetry appeared in the likes of The Yale Review, The Paris Review and The New Yorker throughout the \u201880s. Her first memoir \u2013 Birthday<\/em>, named after the 1942 self-portrait she\u2019s still remembered for today \u2013 was published in 1986, and a second (Between Lives<\/em><\/a>) came out in 2001. By her death in 2012, her two poetry collections and novel had also been released.<\/p>\n

Some of her contemporaries were equally multi-talented, ranging from painter\/sculptor Marcel Duchamp to Joseph Cornell, known for assemblage and experimental filmmaking. There\u2019s perhaps no better example than Salvador Dal\u00ed, who opened\u00a0the floodgates for cross-medium creative output. Famously, he’s responsible for seminal works in multiple art forms: he painted\u00a0The Persistence of Memory\u00a0<\/em>(1931) and co-created\u00a0short film Un Chien Andalou<\/em>\u00a0with Luis Bu\u00f1uel (1929).<\/p>\n

A modern-day example would be someone like Tom Ford, the fashion designer who launched his own brand in 2006 and directed the Oscar-nominated films A Single Man <\/em>(2009) and Nocturnal Animals <\/em>(2016). Or Nick Cave: frontman of three bands, writer of two novels, two books of poetry, three screenplays, and responsible for over a dozen feature film musical scores.<\/p>\n

This kind of\u00a0master of all crafts isn\u2019t exactly mass-produced by the creative industries. Dorothea Tanning offered something special in her mid-twentieth century heyday; but it is something no less vital today.<\/p>\n

 <\/p>\n

 <\/p>\n

For details, dates and tickets to the exhibition at the Tate Modern, click here<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

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