Magazine article Tate Etc.


Magazine article Tate Etc.


Article excerpt

Stephen Guise,

4th Estate Publishers, UK

Dear Mr. Guise,

Following up on previous correspondence with Tate Liverpool, we take this opportunity to present a proposal. Before which we musttell you how glad we are that 4th Estate will reprint Raymond Williams's Keywords. It's been heartening to see how exhibition-making might play a rôle in much larger public gestures. Thank you.

The proposal -for the cover of this reprint - is derived from a writing style which we have developed together for the 'Keywords' exhibitions to date - at Iniva, London1, continuing at Tate Liverpool in February-curated by Gavin Delahunty and Grant Watson. A selection of keywords will be drawn at a very large size, on the walls of the gallery spaces, where, unlike a caption or wall text, meaning is not directly ascribed to a work on show. The space between works and words is where a visitor should actively produce his or her own meaning.

Our keywords are drawn at a large scaleimagine an "o" being the size of your head. Through enlargement, we are "making public", or drawing a public-sized attention to gestures and words thatin such fluent productions as speech or writing - might normally be produced in sequence, unread and unnoticed. We see language's workings as analogous to other social constructions: made up of parts whose relationships are fluid and aren't hindered by explanation. It is this enlargement of handwriting's finger-movements, to similar gestures made by arms drawing at this scale, that ties our drawings to the public-ation of Williams's Keywords. To do this, we developed a perspex template2, allowing us to construct seemingly fluid lines, in separate parts3. This is a little like a French curve-each part's different curvature is guided by the template.

Key to understanding the nature of this work is the production of this "template" as opposed to a "stencil". …

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